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“Summer Landscape.” 


ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 
7 MADISON SQUARE SOUTH, NEW YORK 
FROM SATURDAY, JANUARY 2Isr, 1905 
UNTIL THE DAY OF SALE, INCLUSIVE 


THE ART TREASURES COLLECTED BY 


THOMAS E. WAGGAMAN 


UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 
ON THE AFTERNOONS OF JANUARY 251TH 

26TH, 27TH, 28TH, 30TH AND 31ST, AND 
FEBRUARY Ist, 2ND AND 38RD, AND 
EVENINGS OF JANUARY 301TH anp 31st 


AND 


AT MENDELSSOHN HALL 
ON THE 
EVENING OF FRIDAY, JANUARY 271TH 


pee 1! 9 


CATALOGUE 
OF 


THE ART TREASURES 


COLLECTED BY 


THOMAS E. WAGGAMAN 


WASHINGTON, D. C. 


REVISED AND EDITED BY THOMAS E. KIRBY 


THE ENTIRE COLLECTION TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BEGINNING JANUARY 25TH, 1905, PURSUANT TO AN ORDER OF THE 
SUPREME COURT OF THE DISTRICT OF COLUMBIA, DATED DECEMBER 
20TH, 1904, IN THE MATTER OF THOMAS E. WAGGAMAN, BANKRUPT, 
AND BY ORDER OF H. ROZIER, DULANY, TRUSTEE IN BANKRUPTCY 


THE AMERICAN ART ASSOCIATION 


MANAGERS 
NEW YORK 
1905 


Copyricut, 1905, BY 
THE AMERICAN ART ASSOC 


Press of J. J. Little & Co. 
Astor Place, New York 


t 
@ 
9 
? 
, 


ORDER OF SALE 


EVENING SESSIONS 


ON FRIDAY EVENING, JANUARY 2Q7rn, 1905 


AT MENDELSSOHN HALL, Fortieth Street, East of Broadway, beginning 
promptly at 8.30 o’clock, THE VALUABLE PAINTINGS AND WATER 
COLORS. Catalogue Nos. 1 to 96, inclusive. 


MONDAY AND TUESDAY EVENINGS, JANUARY 30TH anp 31st 


AT THE AMERICAN ART GALLERIES, Madison Square South, promptly 
at 8 o’clock. ANTIQUE JAPANESE COLOR PRINTS, KAKEMONOS, 
PANELS, EXCEEDINGLY RARE OLD SCREENS, FINE ART AND 
OTHER BOOKS AND RARE ETCHINGS. 


AFTERNOON SESSIONS 


WEDNESDAY AFTERNOON, JANUARY 251TH 


AT THE AMERICAN ART GALLERIES, promptly at 2.30 o'clock. NET- 
SUKES, JAPANESE PIPES, PIPE CASES, YATATES, TOBACCO 
POUCHES, INROS, SNUFF BOTTLES, SPECIMENS OF ROCK CRYS- 
TALS AND AGATES AND LACQUER SAKE SAUCERS. Catalogue Nos. 


1 to 304, inclusive. 


THURSDAY AFTERNOON, JANUARY 26TH 


AT THE AMERICAN ART GALLERIES, at 2.30 o’clock. JAPANESE 
AND CHINESE LACQUERS, IVORY AND WOOD CARVINGS, RARE 
JADE BUDDHISTIC STATUES AND SHRINES AND PANELS BY 
RITSUO. Catalogue Nos. 305 to 570, inclusive. 


BRONZES. Catalogue Nos. 571 to 831, inclusive. 


* 


SATURDAY AFTERNOON, JANUARY 287TH 


AT THE AMERICAN ART GALLERIES, at 2.30 allo “COREAN } 
POTTERY, ANTIQUE CHINESE PORCELAINS DECORATED BLUE 
AND WHITE, SOFT PASTE SINGLE COLORS AND CELADON SPECI- — 
MENS AND JAPANESE AND CHINESE CLOISONNE ‘ENAMELS. 
Catalogue Nos. 833 to 1140, inclusive. 5 


MONDAY AFTERNOON, JANUARY 301TH 


AT THE AMERICAN ART GALLERIES, at 2.30 o’clock, SWORD 4 
GUARDS, SWORD ‘ORNAMENTS, KNIFE HANDLES, JAPANESE ae 
DAGGERS, SWORDS AND FAMOUS SWORD BLADES. Catalogue ee. q 
1141 to 1361, inclusive. 


TUESDAY AFTERNOON, JANUARY 31st 


AT -THE AMERICAN ART GALLERIES, at 2.30 o’clock. ANTIQUE 
JAPANESE POTTERY AND PORCELAINS. Catalogue Nos. 1366 to 1636, = 
inclusive. ; ‘ 


WEDNESDAY AFTERNOON, FEBRUARY Isr 


AT THE AMERICAN ART GALLERIES, at 2.30 o’clock, ANTIQUE 
JAPANESE PORCELAINS, POTTERY AND SATSUMA FAIENCE. 
Catalogue Nos. 1637 to 1919, inclusive. 


THURSDAY AFTERNOON, FEBRUARY 2np acs 


AT THE AMERICAN ART GALLERIES, at 2.30 o’clock. ANTIQUE 
JAPANESE FAIENCE AND PORCELAINS. Catalogue Nos. 1920 to 2249, 
inclusive. 


FRIDAY AFTERNOON, FEBRUARY 3rp 


AT THE AMERICAN ART GALLERIES, Concluding Session, beginning 
at 2.30 o’clock. ANTIQUE JAPANESE FAIENCE, STONEWARE AND 
MISCELLANEOUS OBJECTS, GALLERY CABINETS AND FURNI- 
TURE. Catalogue Nos. 2251 to 2542, inclusive. 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be immedi- 
ately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his judg- 
ment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to pay 
down a cash deposit, or the whole of the Purchase-money, if required, 


in default of which the Lot or Lots so purchased to be immediately put 


up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, and the 
remainder of the Purchase-money to be absolutely paid, or othermise 
settled for to the satisfaction of the Auctioneer, on or before delivery; 
in default of which the undersigned will not hold themselves responsible 
if the lots be lost, stolen, damaged, or destroyed, but they will be left 
at the sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible for 
the correctness of the description, genuineness, or authenticity of, or 
any fault or defect in, any Lot, and make no Warranty whatever, they 
will, upon receiving previous to date of Sale trustworthy expert opinion 
in writing that any Painting or other Work of Art is not what it is 
represented to be, use every effort on their part to furnish proof to the 
contrary; failing in which, the object or objects in question will be 
sold subject to the declaration of the aforesaid expert, he being liable 
to the Owner or Owners thereof, for: damage or injury occasioned 


thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of the Purchases, no Lot can, on any account, be removed during 


the Sale. 


7. Upon failure to comply mith the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared within 
one day from conclusion of Sale shall be re-sold by public or private 
sale, without further notice, and the deficiency (if any) attending such 
re-sale shall be made good by the defaulter at this Sale, together with 


all charges attending the same. This Condition is without prejudice 


to the right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 

8. The undersigned are in no manner connected mith the business of 
the cartage or packing and shipping of purchases, and although they 
will afford to purchasers every facility for employing careful carriers 
and packers, they will not hold themselves responsible for the acts and 
charges of the parties engaged for such services. 


Tue AMERICAN ART ASSOCIATION, Manacers 


THOMAS E. KIRBY, AvcrTioneeEr. 


‘ BIOGRAPHICAL NOTES AND INDEX 


LOUIS APOL 


Among the band of Dutch artists who began to establish a 
reputation in the seventies, Louis Apol holds a very distinguished 
place. He has a special fondness for winter scenes, which he ren- 
ders in a spirit of realism, with a quiet, contemplative manner and 
singular taste and purity that characterize the work of the group. 


A WINTER MOON 37 
z : ‘ 
a aie o 2 = od s @ - @°* 
J..J. VAN DE SANDE-BAKHUYZEN 


Born at The Hague, 1835. Pupil of his father. A landscape 
painter of great merit, reproducing nature’s beauty in a true and 
simple manner. His subjects are mostly taken from the province 
of Drenthe, where he studies every summer. His works attracted 
great attention and admiration at the World’s Fair, Chicago, but 
his greatest popularity is in Holland, where there is scarcely a 
collection without at least one example of his work. 


COWS AT THE FORD gh 


NICOLAAS BASTERT 


Born at Amsterdam, 1858. Pupil of the Amsterdam Academy. 
A talented landscape painter. His work is refined and his inspira- 
tion received directly from nature. He is at his best when paint- 
ing still rivers which reflect the trees along their borders. The 
paintings he sent to the Chicago Exposition were all bought by 
connoisseurs of the United States. He has exhibited in Paris, 


ing a metal: in each city. 
OCTOBER—HOLLAND ; 


‘MRS. BILDERS- ol BOSSE 


Born in Oosterbeek. Studied nOpeHe with her late hasta 
J. W. Bilders, and Anton Mauve, who taught her to paint direct 
from nature. She is particularly excellent in her sketches of wood 
interiors, especially in water color, which are much admired in 


Holland. 3 a 
IN A BEECH FOREST "4 


BERNARDUS JOHANNES BLOMMERS 


Born at The Hague in 1844 and in time became a pupil of its 
Academy. His first exhibit was made in 1869, when his picture 
was hung next to one by Israéls. This led to a friendship between 
them, the-influence of which is clearly perceptible in his earlier 
work. But his temperament is sunny, and while he enters with 
sympathy into the life of the peasants, his genre pictures of 
domestic scenes are happier in suggestion than those of the older 
man. ‘The picture, exhibited at Paris, a large canvas, represented 
a mother and three children paddling in the shallow waves at sun- 
set; a subject altogether charming in spirit and execution. In 
Holland, Blommers is highly esteemed, his works hanging in the 
principal public galleries, while his reputation in other countries is 
steadily advancing. 


HAILING THE BOAT 6 
GIRL KNITTING 35 


FRANCOIS SAINT BONVIN 


A French painter of still-life and of interiors in the style of 
Chardin; born at Vaugirard, Paris, November 22, 1817. His 
father was a garde-champétre, and Bonvin was educated in the 


ae “ ‘ 
as > 
J * 


e) _ drawing-school of the Rue de l’Ecole de Médicine. For more than 
‘thirty years he was a constant exhibitor at the Salon, gaining the 


Legion of Honor in 1870. In 1881 he entered the Hospital of 
Saint Jean de Dieu to be operated on, and for the rest of his life 
was an invalid. He died in 1888. 


THE CLOISTER | | 44 


JOHANNES BOSBOOM 


Born at The Hague, 1817; died there, 1892. Pupil of B. J. 
Van Hove. Bosboom is now recognized as one of Holland’s best 
painters. Since his death his works have rapidly been absorbed 
into collections. He was unexcelled in his specialty of church in- 
teriors. Beautifully drawn and executed, they are filled with air 
and also with the suggestion of those sentiments that are inspired 
by the grand architecture that has been a silent witness of great 
events in Holland’s history. His landscapes are also full of fine 


_ feeling. He received many honors; none that he greater esteemed 
than to be chosen, as he was in July, 1885, to unveil Rembrandt’s 


masterpiece in the new museum at Amsterdam. 


IN A DUTCH BARN. 23 
IN THE CHURCH, MIDWOLDE, HOLLAND 28 


RICHARD NORRIS BROOKE 


Born at Warrenton, Virginia, October 20, 1847. Studio in 
Washington, D. C., where he has established a reputation as a 
painter of ability and an art critic of sound judgment. 


-THE HARVEST FIELD 46 


A QUIET CORNER 94 


GAETANO CHIERICI 


Born at Reggio, Italy, 1838. Professor at Academy, Rome 
and Florence. Medals: Rome, Lisbon and Florence. 


WARMING DOLLY’S HANDS 87 


SSeS geen ac ta eae eae 


JOHN CONSTABLE, R.A. 


father, meanwhile receiving flection in drawing frost a certain 
Dunthorne, who gave his instruction always in the open air. — 


Finally deciding to be a painter, he entered the Academy schools a 


at the age of twenty-four, and exhibited his first picture two years 
later. He studied the works of Ruysdael in the National Gallery, 
from which he came to the conclusion that London could help him 
little in his art, and that it was nature which he must study, and 
particularly nature along the banks of his native Stour, which in 
after years he averred had inspired his desire to be a painter. He 


set himself right in the midst of green landscape, and was the first % 


to remove every kind of adaptation and arbitrary arrangement in 
composition, and to paint not only what he saw, but in such a way 
as to convey. the impression of how he saw it. Especially did he 
advance the study of light and air, and for the first time the at- 
mosphere moves and has its being in painted landscape. He was 
ahead of his time, anticipating the triumphs of the painters of 
Barbizon, on whom his influence was undeniable. He was happily 
married, and a legacy to his wife, sufficient for their modest needs, 
enabled him to work, as he said, for the future. He was elected 
to the Royal Academy in 1837. His faith in the judgment of pos- 
terity has been abundantly justified, and he is now recognized as 
one of the foremost masters of the paysage intime. 


A HEATH Cs spd 
HAMPSTEAD «61 


JEAN BAPTISTE CAMILLE COROT 


Born in Paris in 1796; the son of a court modiste. He was 
sent to the high school at Rouen and then apprenticed to a linen 
draper, his father, after eight years’ opposition, finally yielding 
to his desire to be a painter, and allowing him a yearly mainte- 
nance of twelve hundred francs. He studied under Michallon and 


b 


2 
f, 


e1¢3 
ae 


- Bertin, accompanying the latter in 1826 to Italy. Here with prac- 


ow 


tice he achieved the accomplishment of rapidly portraying the 
action of moving figures, a skill that he afterwards extended to 
the delineation of foliage stirred by air. His early pictures, 
whether of figures or landscape, are of the orthodox academical 
type, hinting at the future Corot only in the exceeding delicacy 
of their tonal effects and their increasing regard for the qualities 
of atmosphere. It was not until he had returned from his third 
visit to Italy, in 1843, that Corot fell under the influence of Rous- 
seau and discovered the charms of French landscape. In Pro- 
vence, Normandy and Fontainebleau he studied nature, recom- 
mencing his artistic life at the age of forty and studying for eight 
years before the Corot-that the world now recognizes as a master 
was finally evoked. Communing with nature in Ville d’Avray and 


_ painting in his studio in Paris, he produced during the next 


twenty-five years a series of masterpieces, distinguished as much * 
by truth to nature as by their exquisite poetry. The latter was 


an effluence of his own quiet, happy spirit, and of the perennial 


youth of his soul, that found its pleasure in music and in nature 


_and in the companionship of his friends. He lived with his sister, 


who died in 1874, and the old bachelor followed her the next year. 
** Rien ne trouble sa fin, c’est le soir d’un beau jour.” 


LAKE NEMI — 47 

VILLE D’AVRAY 49 

AT NIGHTFALL: A STUDY 50 
DAVID COX 


Born near Birmingham, England, in 1783. He began his 
career as a scene painter in a Birmingham theatre, and went to 
London in 1803, where he became a teacher of drawing and paint- 
ing, and practised his profession with great success. His name 
is identified with a flourishing school of English landscape paint- 
ers, of which he was one of the leaders. In 1844 he settled at 
Harborne Heath, near Birmingham, where he died in 1859. 


COLLECTING THE FLOCK, VALE OF CLWYD 81 


This artist was a pupil of Géréme, and made his début i in Fa aN 
Salon in 1877, and in 1878 received a medal for his “ Burial of ie 


Manon Lescaut.” In 1880 M. Dagnan-Bouveret received a first- a 


class medal; in 1885 the Legion of Honor, and in 1889 the © 
medals of honor at the Salon and the Universal Exposition. More 
his own country could not do for him, except to support him with 
her patronage, and this she has honestly done. Commencing on the 
foundation of neo-classical art which characterizes the Géréme 
school, M. Dagnan has created a school of his own, in which he 
has many followers. Tenacious, patient, persevering, working 
with the extremest care, leaving nothing to accident, but carrying 
out each effect as he marked it out to be completed when he began, ~ 
he is at once one of the most conscientious and one of the most 
sincere French artists of the present day. He is absolutely free 
from any of the mannerisms or conventionalities of academic train- 
ing, and equally free from any personal affectations of technique. 
Bastien-Lepage, himself an artist of a very similar type, held him 
in the highest esteem, and since the death of his friend, M. Da- 
gnan comes closer to taking his place than any other artist of the 
day. M. Dagnan takes his surname Bouveret from his mother, 
in order to distinguish himself from another artist of the name 
now deceased. ; | 


A DUET IN THE STUDIO —80 


CHARLES FRANCOIS DAUBIGNY 


Born in Paris in 1817. After studying with his father, Edmé 
Francois, he visited Italy, and on his return spent some time in the 
studio of Delaroche. From 1838 he was a constant exhibitor at 
the Salon and became identified with subjects drawn from the — 
Seine, Marne and Oise, navigating these waters in a floating 
studio. He had spent much of his childhood in the country near 
L’Isle Adam and, as an artist, turned unreservedly to nature study. 
The youngest of the Barbizon group, he entered into the harvest 
of recognition won by the older men. He was not an exacting 


baal 
» 


| i 


analyst, like Rousseau; or elevated in mood, as Dupré; not con- 


~sciously a poet, as Corot, or a sharer of Diaz’s fantastic or exalted 


conceptions; only, quite simply and normally, a lover of the 
country. . 

Such a love of nature is a survival of, or a return to, the simple 
associations of childhood, and Daubigny in this respect was per- 
petually a boy. His pictures have the freshness and spontaneity 
of boyhood, expressed with the virility of a man. 

_ He had more affinity with Corot than with any other of the 
famous brotherhood—less with Corot’s classical spirit and delib- 
erately poetic vein than with his sweet, perennial youthfulness of 


_. character. He was by nature lovable, with a heart that kept its 


sweetness fresh and unsuilied to the end. The lovableness is re- 


flected in his work. His death occurred in 1878. 


A SUMMER LANDSCAPE 7 53 
LE LAC | 60 
BLACK ROCKS, COAST OF NORMANDY "3 


KARL DAUBIGNY 


Born in Paris, June 9, 1846. Son and pupil of Charles Fran- 
¢ois Daubigny. Formed a style of his own, and received medals at 
the Salon. His landscapes are highly appreciated in France, but 
are not very well known in the United States. Died in Paris in 
1886. 


EARLY MORNING ON THE OISE 58 


CHARLES H. DAVIS 


At the Third Prize Fund Exhibition, at the American Art Gal- 
leries in New York, in 1887, the prize of $2,000 was awarded to a 
landscape entitled “ Late Afternoon.” The artist was Charles H. 
Davis. At the Exposition of 1890, in Chicago, another of the 
artist’s works secured the prize of $500, donated by Mr. and Mrs. 
Potter Palmer, for the best landscape. Two exhibitions of the 


painter’s pictures in New York further Perrities him to his ee : " 
lic and confirmed his footing. Mr. Davis is a native of Amesbury, 
Massachusetts, born in 1856, and at twenty years of age began — 


exhibiting pictures in Boston, where he had received instruction at 


the Museum of Art, under Profesor Grundman. He went to Paris a 
in due time, and commenced to qualify himself as a painter of the 
figure, with Boulanger and Lefebvre for masters. His summer 
studies out-of-doors aroused in him the latent love of Nature in 
her rural and pastoral aspects, however, and he finally discarded 
"his original selection and devoted himself entirely to landscape 
painting. Working upon a capital of skill acquired from the 
study of the figure, and being independent of the influence of any 


school or master of landscape painting, he created within himself 


that simple and charming style which renders his works so capti- 
vating. 


A WINTER EVENING Me) 


THEOPHILE DE BOCK 


Born at The Hague, 1850. Pupil of Jacob Maris, De Bock 
has gained from his master a broad and vigorous manner of paint- 
ing. His skies are admirable. His landscapes are nearly always 
well composed, and have a certain strength and atmospheric quality 
that are very attractive. He has in his work the spirit of the 
modern Dutch school. 


A LANDSCAPE 16 


‘ALEXANDRE GABRIEL DECAMPS 


Born in Paris, 1803. At first a pupil of David and Ingres, 
he freed himself from classic principles of style and from imita- 
tion of the antique. As a boy he had spent several years upon a 
farm, and the love of nature was strong within him. In 1827 he 
accompanied Garneray, a marine painter, to Constantinople and 
Asia Minor, and his journey proved a voyage of discovery for 
French painting. He dared to paint what he saw, and saw every- 


thing through the vision of a true painter, fascinated by color and 
light, and in a spirit of dreamy mystical poetry. His death oc- 
curred at Fontainebleau in 1860. 


SAUL PURSUING DAVID 76 


P. DE JOSSELIN DE JONG 


Contemporary 


SCHEVENINGEN FISHER-GIRLS 26 


” 


OTTO DE THOREN 


Medals: Paris, 1865; Munich, 1869; Vienna, 1882. Chevalier 
of the Order Francis Joseph. Russian Order of Vladimir. Mem- 
ber of the Vienna and St. Petersburg Academies. 


APPROACHING STORM 67 


LUDWIG DETTMAN 


Contemporary 


THE POTATO HARVEST 25 


HENRI LUCIEN DOUCET 


Born in Paris. Genre and portrait painter; pupil of Lefebvre 
and Boulanger. Awarded a medal at the Salon of 1879. 


AFTER THE BALL 82 


EUGENE FROMENTIN 


Born at La Rochelle in 1820. He was the son of a successful 
lawyer and intended to follow his father’s profession. But after 
receiving his diploma in Paris, at the age of twenty-three, he was 
taken ill, and as a pastime took up the study of drawing. He soon 


discovered that his tastes were stronger in the direction of a cae sa 


toward the practice of law, and he became a pupil of Cabat and a 


Rémond. He had visited Algeria as a youth, and, attracted by — 


Marilhat’s paintings of the Orient, now made up his mind to re- — 
turn to that country. He accordingly spent three years there — 
—1846 and 1848 and 1852. In 1847 he first exhibited at the — 
Salon, and in a few years was recognized as the most sympathetic 4 


and poetical painter of Oriental subjects, and became, indeed, the 5 & 
leader of a school. ‘Meanwhile he established his reputation asa _ 
brilliant and facile writer, not only as a critic of art, but as a 
novelist. He received medals at the Paris Salon in 1849, 1857 
and 1859, and at the Exposition in 1867. He was made Chevalier _ 
of the Legion of Honor in 1859 and Officer in 1869. Died in 1876. _ 


ARABS ON THE MARCH 45 


BALDOMERO GALOFRE 


This distinguished Catalonian painter was born in 1848. In — 
1870 Baldomero Galofre arrived in Madrid with six francs in his 
pocket and two portfolios of sketches, the result of his study 
under Ramén Marti. He was employed as a draughtsman on the 
Ilustracién Espafiola y Americana till 1873, when he won the Prix 
de Rome. He was practically self-taught in art, and was extremely 
independent and exclusive in his habits. He worked in Rome and 
occupied a leading position among modern Spanish painters. His 
death occurred at Barcelona on July 26, 1902. 


BESIDE THE BAY OF NAPLES . 93 


WALTER GAY 


Born in Hingham, Massachusetts, Walter Gay first became 
known in Boston as a painter of flowers and still-life pieces. He was 
a nephew and pupil of Walter Allan Gay, who had studied under 
Prof. R. W. Weir at West Point, and Troyon in Paris, and had 
travelled and painted widely in Europe and the East. In 1876 
young Gay went to Paris, where he became a pupil of Léon Bon- 


By f 

nat, and since that time he has devoted himself almost entirely to 
figure subjects, in a cheerful and pleasing genre, which have won 
for him a gratifying reputation. At the Salon of 1885 he was 
accorded an Honorable Mention, and he has received other dis- 
_tinctions at exhibitions in this country. He has been awarded 
medals in France, Belgium, Germany and Austria, is a member 
of the Society of American Artists, and was made a Chevalier of 
the Legion of Honor in 1894. His best known pictures are genre 
subjects of the eighteenth century, but during the past couple of 
years he has varied them with realistic motives of modern life, 
especially in Spain, which show him to be fully abreast with the 
spirit of the time. 


A PROVINCIAL ASYLUM 63 


GUSTAVE GUILLAUMET 


_ Gustave Guillaumet, the chief of modern French painters to 
explore North Africa as a field for subjects, was born in Paris on 
March 26, 1840. He studied at the Ecole des Beaux Arts, and 

under Picot and Barrias, and in 1863 won the second Prix de Rome 
and made the first of his many visits to Algeria. His scenes of life 
among the nomadic Arabs of the waste and the Arabian husband- 
men at once attracted favorable attention in Paris, and secured him 
various medals at the Salon, and in 1878 the Legion of Honor. 
All the French museums possess examples of his brush, and he has 
contributed not a little by his art toward strengthening the bonds by 
which France is united with her famous African colony. His pic- 
tures are essentially truthful and realistic, but are imbued with a 
certain poetic feeling, and characterized by a mellow charm of color 
and a tender harmoniousness of tone. His selection of subjects is 
simple, without any effort at superficial sentiment; calculated, in 
fact, to be representations of actual life, whose interest is entirely 
dependent on themselves. It is in this that their strong appeal to 
the public lies; an appeal which has rendered them the most popu- 
lar pictures of African life and character painted in modern times. 


STREET IN AL KANTARA . 52 
SPINNERS AT LAGHOUAT 56 


AUGUST HAGBORG 


Born at Gothenburg, Sweden. Pupil of the Academy oe £ Fi 
Arts, Stockholm, and of Palmaroli, Paris. Medal, Paris, 1879. 


** Of majestic stature, with a handsome and characteristic head, one 


recognizes in him at once the strong man and the artist, the inde- _ 


fatigable fighter and worker, whose eyes, flashing with inspiration a 
and spirit, have in them still that tenderness which belongs to the __ 
Swedish eye, tinted with the beautiful blue of the sea. Everything 
is robust and vigorous in the talent which confirms him as one of 
the masters of the future.’—August H fagbcum by A. M. DE 
BELINA. 


MEETING THE BOAT 95 


WILLIAM H. HOLMES 


Born in Harrison County, Ohio, in 1846. He took up water 
color drawings at an early age, but without a master. In 1872 he 
joined the United States Geological Survey of the Territories as — 
artist, and, although turning his attention almost immediately to 
geologic and archeologic studies, he at all times kept up the prac- 
tice of his favorite art. 


VENICE : a 91 


EUGENE LOUIS GABRIEL ISABEY 


Born at Paris in 1804. He was the son of a well-known minia- 
ture painter, Jean Baptiste Isabey, and was the pupil of his father. 
He began his career as a genre painter, but shortly began to paint 
marines, and, indeed, during his whole professional life, more than 
sixty years, he divided his time between these two branches of art. 
In 1830 he was appointed royal marine painter with the French 
expedition to Algeria, and although he executed many important 
commissions for sea pictures, he continued to paint those remark- 
ably facile, vivacious and rich-toned figure pictures for which he 
is now chiefly known. He was at one time very successful as a 
water-color painter and also as a lithographer. He received 


Li 


medals at the Paris Salon in 1824 and 1827, and at the Exposition 
in 1855; was made Chevalier of the Legion of Honor in 1832 and 
Officer in 1852. Died in 1886. 


A SHIPWRECK 7 65 


JOSEF ISRAELS 


Born at Groningen, North Holland, in 1824. As a boy he 
wished to be a rabbi, but on leaving school entered his father’s small 
banking business, and in 1844 went to Amsterdam to study under 
the fashionable portrait-painter, Jan Kruseman. But it was the 
ghetto of the city, swarming with-life, that affected his imagina- 
tion. ‘The following year he proceeded to Paris and worked under 


‘Picot and Delaroche, entering the latter’s. studio shortly after 


Millet had left it. Like Millet, he had no inclination for “ grand 
painting,” and, though he tried to practise it upon his return home, 
it was in the little village of Zandfood, whither he went for his 
health, that he discovered his true bent. Again, like Millet, he 
found his inspiration in the lives of the poor; but, unlike the 
French master, he invests his subjects with intimate peace and 
lyrical melancholy, veiling his figures in an exquisite subtlety of 
subdued atmosphere. Amongst the moderns he is “one of the 
most powerful painters and at the same time a profound and 
tender poet.” 


JAN IN THE BABY-CHAIR 41 
GRANDFATHER’S CONSOLATION 70 


CHARLES EMILE JACQUE 


Last survivor of the Barbizon-Fontainebleau painters, Jacque 
reached a full meed of dignity and wealth. The varied experiences 
of his early life, joined to a well-balanced mind and practical char- 
acter, had enabled him to escape the early harassments which had 
beset his friends.. 

Born in 1813, he was by turns a soldier and a map engraver; 
later practismg engraving upon wood, and etching. In these 
mediums his first exhibits were made at the Salon, and they received 


j an ~ 
‘ay ae 


i Fe la 
awards in 1851, 1861 and 1863. His influence had much to do — 
with the revival of interest in the art of etching, and examples of 
his plates are held in high esteem by collectors. Meanwhile, from 
1845 he had been training himself to paint, although it was not 
until 1861 that his pictures received official recognition. His sym- 
pathies were with rustic life, and particularly with animals. The _ 
pig attracted him as a subject; he not only painted the barn-door __ 
fowls, but bred them and wrote a book about them. Yet it is for 
his representation of sheep that he is most highly esteemed. His 
experience with the burin and needle had made him a free and pre- 
cise draughtsman, while his profound study of animals gave him 
complete mastery over construction and details, as well as the power 
to represent their character. His fondness for them saves him 
from any possibility of triviality; he selects the essentials and 
fuses them into a dignified unity. His pictures have much of the 
poetry which characterized the Barbizon school, and found ready 
patrons during his life. He died, 1894. 


HOMEWARD BOUND—MOONLIGHT 68 


HENRY WRIGHT KERR 


A native of Edinburgh. An Associate of the Royal Scottish 
Academy. His specialty is in characteristic heads, Scottish and 
Irish, though he also paints landscapes. 


A CONNEMARA BAILIFF 2 


JACOB SIMON HENDRIK KEVER 


Born at Amsterdam, 1857. Pupil of the Amsterdam Academy. 
While yet a boy his passion for drawing and sketching pointed out 
his future career. Kever has a great reputation as a painter of 
Dutch peasant home life, and none has better or more sympathetic- _ 
ally painted children. He expresses in his paintings very sweet 
sentiment with a strong, free brush. His subjects are very simple, 
but seriously painted. His handling of light, whether in interiors 
or out-of-doors, is particularly happy, and the tone and color are 
excellent. His works are steadily rising in the estimation of con- 


ie 


noisseurs. He received the gold medal of Amsterdam in 1892, 
and was awarded medals at Munich, Chicago, and other places. 


DIVIDING THE PROFITS 10 
THE NOONDAY REPAST 31 
AMUSING THE BABY 62 


GOTTHARD KUEHL 


A painter of the Munich school, with a predilection for medix- 
val subjects and costume genre. 


AN ORPHAN SCHOOL 64 


DANIEL RIDGWAY KNIGHT 


A native of Philadelphia and a student of the Pennsylvania 
Academy, Knight went to Paris in 1872, and since that date has 
continued to reside in France. He entered the Beaux Arts and 
studied under Gleyre, later on being received into the studio of 
Meissonier, the only American who ever enjoyed that distinction. 
He did not, however, become an imitator of the great Frenchman. 
Indeed, from the time he made his acquaintance, he ceased to paint 
the little costume pieces with which he had been identified pre- 
viously, and devoted himself to studies of peasant life on a larger 
scale and set in natural surroundings. He early abandoned the 
artificially lighted studio, and had one constructed of glass in the 
garden of his picturesque villa at Poissy. Many honors have been 
conferred upon him both in this country and abroad, including 
the Cross of the Legion of Honor, and the Cross of the Order of 
St. Michael at Munich, and a bronze medal at the Universal Expo- 
sition of 1900. 


GOSSIP BY THE RIVERSIDE 92 


KONSTANTIN MAKOVSKY 


Born in Moscow, 1839. Historical, genre and portrait 
painter; pupil of the Moscow Academy and the St. Petersburg 


Academy, where his “ Assassination of Czar Féder Borissovich ” 


was awarded the second prize. He painted portraits almost ex- 


clusively for several years, but in 1869 he exhibited the “ Carnival - 


b) 


in St. Petersburg,’ now belonging to the Czar. Makovsky is a 
member of, and Professor in the St. Petersburg Academy. 


HEAD OF A WOMAN 89 


JACOB MARIS 


The eldest of the three brothers, whose father and teacher was 
an able artist of the last century, was born at The Hague, 1837. 
Pupil of Stroebel, van Hove, de Keyser and Hébert. Jacob Maris 
was greatly impressed, while in Paris studying with Hébert, with 
the works of Daubigny, Millet, Rousseau, Dupré and Corot. 
Returning to Holland, his serious nature was drawn towards the 
Dutch landscape, its windmills, towns, canals; also to the seashore 
with its picturesque fishing-boats. He was regarded by all his 
brother artists as the greatest living landscape painter in Holland. 
His pictures have steadily grown in the estimation of connoisseurs. 


He died in 1899. 


AT DORDRECHT |. 11 
SUBURBS OF THE HAGUE ; J 19 
THE OLD CANAL AT DORDRECHT 71 


WILLEM MARIS 


Born at The Hague, 1843. Brother and pupil of Jacob Maris, 
but taught more by nature. There is no artist who can depict so 
well the delicious atmosphere that envelopes Holland on a summer 
day. His favorite subject is a pasture with the sunlight resting on 
the backs of cows standing dreamily near ponds, or ditches or in 
milking corners. He is seldom satisfied with his own work. His art 
is wonderful, and the brush with which he has charmed so many 
lovers of nature is handled with ease and as by magic. Let one 
who wishes to understand the work of Willem Maris take a walk 
from one of the villages of Holland to some neighboring farm, sit 


- an on the roadside between the pastures, enjoy the country in 
all its beauty, inhale the balmy perfume of the land, and then he 


will feel the sentiment that Willem Maris so well interprets. 


MILKING 12 
A COOL SPOT : 20 
COWS IN THE MARSH Q1 
MILKING TIME — 45 


ANTON MAUVE 


** It was truly said when Anton Mauve died that Holland had 
sustained a national loss. Though comparatively a young man, 
he had made a powerful impression on the art of his country, and 
did more than any of his contemporaries to infuse into the minds 


of his fellow-artists higher aims and to lead them toward that close 


sympathy with nature which was his own inspiration. He loved 
the Dutch farms, dykes and heaths, and he painted them lovingly 
and tenderly in a direct, simple way. To him his country was not 
always dull, gray and damp, as other artists would have us believe. 
He saw and felt, and shows us, its light and sunshine, too. 
Through his pictures we may know Holland as it is, with its peace- 
ful peasant life in both field and cottage—not that life of hard 
and hopeless toil that Millet so often painted, but the life of peace- 
ful and contented labor which, happily, is, after all, the peasant’s 
more frequent lot. 

** Mauve was born at Zaandam, September 18, 1838, and fled 
at the house of his brother, in Arnheim, February 5, 1888. 

“ Though he was for a short time in the school of P. F. Van Os, 


he was mainly a self-taught artist.”—-W. MacsBeTu. 

COW IN STABLE 3 
WINTER IN HOLLAND 18 
BOY AND COW 29 
IN THE SHEEP STABLE, LAREN 30 
HUNTER AND DOG—EARLY MORNING 59 


SHEEP COMING OUT OF THE FOREST 66 


HANS MEMLINC 


Memlinc was born about 1430-35 at Mumling, near Aschaffen- q 
burg, in the principality of Mentz, or at Memlinc, near Alckmaar, q 
in North Holland. He probably settled in Bruges in or before ; 
1467. In May, 1480, he was in possession of two houses in the 
street leading from the Flemish bridge to the ramparts, now called 
St. George’s Street. In the town accounts of 1480 he appears 
among the two hundred and forty-seven burgesses who advanced — 
money (a forced loan) to the municipality towards the expenses of — 
the war between Maximilian and the King of France. Memlinc q 
was married; his wife’s Christian name was Anne, and she bore him 
three sons: John, Nicholas and Cornelius. Anne died in 1487, and 
Hans on August 11, 1494. Memline most likely served his ap- 
prenticeship under some master-painter at Mentz or Cologne. He 
must have worked in the latter city as a journeyman, and probably 
for several years prior to coming into the Netherlands. Guicciar- 
dini says that Memlinc was the pupil of Roger de la Pasture (Van 
Der Weyden) of Tournay, who settled in Brussels in 1435, and 
judging by the many points of similarity in their works, this may 


possibly be true. These points of resemblance are, however, almost 


entirely confined to pictures representing the Adoration of the 
Magi and the Presentation in the Temple, and it is noteworthy 
that a triptych by Roger with these subjects and the Annuncia- 


tion, now in the Gallery at Munich, formerly adorned an altar in | 


the church of St. Columba at Cologne, where Memlinc probably saw 
and studied it. ‘There is no contemporary document proving that 
he worked with Roger, nor any other evidence, for the mention in 
the inventory of pictures belonging to Margaret of Austria, of a 
triptych, the centre of which was by Roger, and the wings by Mas- 
ter Hans, is no proof that he worked with him even for a time. 
Many triptychs have shutters painted by masters in no way con- 
nected with the author of the centre. It is quite as probable that 
he worked with Simon Marmion at Valenciennes. Memlinc is 
known to have had two apprentices—John Verhanneman in 1480, 
and Passchier Van der Meersch—but neither of them became mas- 
ters. For harmony of color and purity of expression Memlinc 
surpasses all the masters who settled in Bruges. 


VIRGIN AND CHILD AND DONORS—A TRIPTYCH ‘4 


ss 
ian : a= ; ag 
> * 4 


Brit i 


JEAN BAPTISTE MILLET 


A brother of Jean Francois Millet. Pupil of Troyon and 
_ Rousseau, whose pictures he frequently copied. 


GORGES D’APREMONT—EVENING 72 


JEAN FRANCOIS MILLET 


Born at Gruchy, in the Commune of Gréville, France, in 1814. 
He worked on his father’s farm until he was twenty years of age, 
and as he was constantly drawing in his leisure moments, it was 
decided that he should study art. He consequently went to Cher- 
bourg and became a pupil of Mouchel and Langlois. He had been 
in Cherbourg but two months when his father died, and he was 
obliged to return to the plough. However, he kept on with his 
drawing, and three years later the municipality of Cherbourg voted 
him a subsidy to pursue his studies at Paris. He accordingly 
entered the Ecole des Beaux Arts there in the studio of Delaroche. 
But he had no sympathy with academic art, and soon left the school 
and began to paint small pictures. In 1848 he sold his first pic- 
ture, “ The Winnower,” and went to Barbizon. His pictures, at 
first unrecognized, gradually gained public attention and esteem, 
and at the Exposition of 1867 his reputation was finally assured. 
He finished only about eighty oil paintings in all. He received 
medals at the Salon in 1853 and 1864, the Grand Medal at the 
Exposition in 1867, and was made Chevalier of the Legion of 
Honor in 1868. He died on January 20, 1875, and was buried 
near Rousseau in the churchyard of Chailly. 


THE CLOSE OF DAY 38 


MISS WALLY MOES 


A pupil of the Amsterdam Academy, has received many com- 
mendations at European exhibitions for her character genre 
studies, so good in drawing and agreeable in color. 


YOUNG DEVOTEES : 32 


THOMAS MORAN, N.A. +, 

Commencing in his youth as a wood engraver’s apprentice, in 
Philadelphia, Thomas Moran taught himself to paint in water ; 
colors and afterwards in oils. He had some inspiration and en-— 
couragement in his work from his elder brother, Edward, who, — 
under instruction from James Hamilton and Paul Weber, had 4 
acquired sufficient proficiency to set himself up as a landscape and 
marine painter. In 1862 Thomas Moran yisited England, of @ 
which country he was a native, having been born in Lancashire and — 
brought to the United States when a boy of seven years of age. — 
He devoted this visit to the study of the old masters in the English — 
galleries, and brought back a vivid impression of 'Turner’s works, — q 
which was reflected in his paintings of this period. In 1866 he 
made another European tour, this time travelling extensively in 
France and Italy, and in 1871 made those explorations of the great _ 
West, with Professor Hayden’s expedition, which resulted in his 
** Grand Cafion of the Yellowstone,’ now in the Capitol at Wash- 
ington, and other powerful works, including the celebrated ‘* Moun- 
tain of the Holy Cross.” He became a National Academician in 
1884, and among other societies is a member of the Pennsylvania 
Academy of Fine Arts and of the Artists’ Fund Society of Phila- 
delphia; of the American Water Color Society, the New York 
Etching Club, and the Society of American Etchers. 


VIEW OF WINDSOR CASTLE . 96 


ALPHONSE MARIE DE NEUVILLE 


Born at Saint Omer, France, in 1836. His parents, who were 
rich and influential, intended him for an official career, but from 
the first his tastes inclined to the army, and finally he was sent to 
the military school at Lorient. During his brief stay there and 
also in the law school in Paris, where he attended to please his 
parents, he spent most of his time sketching, and finally determined 
to become a painter, notwithstanding the remonstrances of his 
family and friends. He studied with Delacroix and Picot, more 
as a friend than as a student, but his first pictures were not suc- 
cessful. The Franco-Prussian War gave him, however, the neces- 


i 


4 
; sary stimulus and opportunity, and his pictures of that epoch are 
. among the most remarkable war pictures ever painted. It is said 
that upon his bed of death he thought himself once more on fields 
of battle, and imagined, in his last hours, the reality of the pic- 
tures in which he had made his country’s heroism immortal. Be- 
fore his fading sight floated the smoke of Magenta; in his dull ears 
roared the cannon of Buzenville; he heard, in the echoing cham- 
_bers of his memory, the crackling fusillade of Le Bourget, and the 
shouts of victory in the guttural German tongue. He received 
medals at Paris in 1859 and 1861; was made Chevalier of the 
Legion of Honor in 1873 and Officer in 1881. Died in 1885. 


THE FLAG OF TRUCE AQ 


ALBERT NEUHUYS 


Born in Utrecht, 1844. Pupil of the Antwerp Academy and 
of G. Craeyvanger. All his life he has been a student in the school 
of nature. His subjects treat of the familiar life of the Dutch 
people. His works show a thorough understanding of the life of 
the humbler country people and personal sympathy with them. 
They also show great technical skill and are steadily increasing in 
estimation. He has received many honors. 


IN A DUTCH HOUSE Q7 
ALONE IN THE WORLD 40 
THE FRUGAL MEAL 69 


MISS A. NUGENHOLTZ 


Contemporary 


~T 


THE CART 


TONY OFFERMANS 


Born at The Hague. Pupil of the Academy. A conscientious 
and able painter of peasant life. The village mechanic has been 
painted by him as by no one else. He enjoys the greatest popu- 
larity amongst his brother artists, who always crowd his studio 


to be cheered by his pleasant and humorous character. He does 
not, however, forget his work, and often disappears without notice a 
to some remote hamlet, to reappear, after months of continuous — 
work, with a wealth of studies. 4 


IN A DUTCH FARMHOUSE 8 


M. KAMERLINGH-ONNES 
Contemporary 


FLOWERS 24 


DAVID OYENS 


Contemporary 


INTERIOR OF A STUDIO | a 


FRANCISCO PERALTA 


After studying under Federico Madrazo in Madrid, Peralta 
visited Paris and then settled in Rome. He was establishing a 
good reputation, when, through the defalcation of his banker, he 
lost his fortune. Broken in health, he returned to Seville, his na- 
tive city, and died there in 1896. 


A GLASS OF WINE : 86 


GEORGE POGGENBECK 


Born at Amsterdam, 1855. A true artist, with Mauve’s tender 
feeling for the harmony and sentiment that are in nature, though 
different from Mauve in subject and manner. ‘There is a beauti- 
ful simplicity and a refined poetic feeling in his landscapes. He 
is very conscientious and produces fewer works than most of his 
brother artists. His painting is very pure and his technique subtle 
and charming. He is one of the best water-color painters in a 
country notable for this art. 


NIGHT 4 
CALVES IN A CLOSE 9 


M 


- 


SIR JOSHUA REYNOLDS, P.R.A. 


A native of Plympton in Devonshire, where he was born in 
1723, Reynolds went to London at the age of seventeen and be- 
came apprenticed to Hudson. ‘Two years later he established him- 


self as a portrait-painter in Devonport, and in 1744 moved his 
_ studio to London. In 1749 Commodore (afterward Admiral) 
» Keppel invited the young painter to accompany him to the 


Mediterranean, and he was thus enabled to spend four years in 
Italy, during which he studied the old masters to such purpose that 
his own work reproduced their qualities. Subsequently he added 
to his research of Italian art that of the Dutch, and in his dis- 
courses delivered before the Academy proved himself a master of 
penetrating criticism. He founded “The Club,” and in 1768 
was elected first President of the Royal Academy. Angelica Kauff- 
mann haying declined his hand, he remained a bachelor, and in his 


_ splendid house in Leicester Square lived luxuriously, on terms of 


familiarity with the greatest men of his day. He died in 1792, 
and received a public funeral in St. Paul’s Cathedral. 


HOPE 85 


MISS MARGARETHE VOGEL ROSENBOOM 


Born at The Hague; died there 1897. A master in the art of 
painting flowers. Her broad, free and sympathetic touch and 
exquisite sense of color have given to her floral compositions an 
artistic quality far beyond the mere copying of the objects set be- 
fore her. She has received honors in different countries. Her loss 
will be deeply felt in the world of art. 


ROSES 15 


THEODORE ROUSSEAU 


Born in Paris in 1812. He was the son of a tailor, and, hav- 
ing a taste for mathematics, he was intending to enter the poly- 
technic school, but, fortunately for art, he entered the Ecole des 
Beaux Arts instead, and became the pupil of Lethiere. Like many 
others, he could not accept the traditions of the Academy, and, 


leaving the school, went direct to nature. He first went to Fon- 
tainebleau in 1833, and in the following year painted the first pic- 
ture, which attracted much attention, the “ Cétes de Grandville.” 
During twelve or fifteen years following this success he was un- — 
recognized by the artistic institution. ‘These had been years of . 
penury, in which, however, his powers had ripened fully, and he had — 
become recognized as the “ Eagle ” of the little group at Barbizon. — 
But he still had to contend with the prejudice of officialdom and of 
the public, and it was only at the Exposition Universelle of 1855 
that the world began to realize that he was indeed a master. By 
this time the evening of life was upon him, and it was clouded by 
the domestic sorrow of his wife’s insanity. In tending her he spent 
his strength, and when, at the Exposition of 1867, the officership 
in the Legion was withheld—an honor that was his due, since he 
had served as president of the jury—his spirit was broken, and — 
he died the same year. He lies buried in the churchyard at Chailly, 
on the edge of the Forest, and upon the “ Barbizon Stone” a 
panel in bronze, executed by Chapu, bears the sculptured portraits 
of himself and Millet. 


EVENING DA 


VICTOR LEON FERDINAND ROYBET 


When, at the Salon of 1866, the “ Jester of Henry III” won 
for its: painter his first medal, France hailed in Roybet a new 
prophet in current art. His cavaliers and ladies, his groups and 
cavalcades, were not only picturesque in themselves and realized 
with remarkable vividness and vitality, but they were presented in 
picturesque incidents and surroundings. ‘The painter is a native 
of Uzés, in the Garde, and was born in 1840. He had begun the 
study of art at the Ecole des Beaux Arts at Lyons, and settled 
in Paris long before his début at the Salon. An immediate favor 
followed the warm critical reception of his first works, and he 
entered upon a career of success which years have only added to, 
and which has made his name familiar throughout the civilized 


world. 


THE PAGE 48 


FRANCOIS PIETER TER MEULEN 


Born at Bodegraven, Meulen became a pupil of Van de Sande- 
Bakhuyzen the elder. He works at The Hague, devoting himself 
to landscape, often with flocks and figures introduced. They are 
painted “ loosely,” with charming suggestion of atmosphere and 
light, and at times have a fresh and tender tone more than a little 
reminiscent of Mauve. His “ Guardian of the Flock ” was one of 
the most agreeable pictures in the Dutch gallery at the recent Uni- 
versal Exposition. 


THE SAND CART 13 
COWS IN THE FOREST . ; 34 


W. B. THOLEN 


Born in Holland, 1860. One of the rising young artists of 
Holland. He is working for art’s sake. All subjects are handled 
by him with tenderness and feeling. 'The Museum of The Hague 
possesses a very fine canvas by him, as also does the Pinakothek of 
Munich. He has already received honors at various exhibitions. 


AT THE BUTCHER SHOP 29 


CONSTANT ‘TROYON 


Born at Sévres in 1810. He worked for a while painting por- 
celain in the manufactory at Sevres, at the same time with Diaz 
and Dupré, and, like them, soon determined to devote himself to 
landscape art. He studied under Riocreux at Paris, and first ex- 
hibited at the Salon in 1833. Up to the time of his visit to Hol- 
land, in 1847, he painted landscapes exclusively, and became well 
known in this branch of art. His studies in the Netherlands ap- 
parently changed his purpose thoroughly, and from that time on 
he made his landscapes subordinate to his cattle. His “ Oxen Go- 
ing to Work,” now in the Louvre, was painted in 1855, and repre- 
sents him in the apogee of his career. He was a legitimate suc- 
cessor of Brascassat, but his art has no rival in its grandeur of 
simplicity, virility and serenity. ‘ While Troyon excelled in paint- 


7 i- ee 
ing a variety of animals, as dogs, sheep, and even barnyard fowls, a 
still it was as a painter of cattle that he reached his greatest height. _ 
Nor was it merely their outward forms that he portrayed. Hehad — 
a realizing sense of their character, their habits, their life, as the — 


willing servants of man. ‘To us, those heavy-yoked oxen, with bent — 


necks and measured tread, dragging the plough along the furrows, 
are living, breathing creatures; and those great awkward cows 
lazily resting their heavy bodies on the ground, and contentedly 
chewing their cud, are absolutely so alive and real that an expert 


could tell at a glance how much they weigh; and the spectator al- — 4 


most fears that a near approach might bring them slowly to their 
feet, and they would walk out of the canvas. In a word, ‘His — 
cattle have the heavy step, the philosophical indolence, the calm 
resignation, the vagueness of look, which are the characteristics — 
of their race.’”’ He received medals at the Salon in 1838, 1840, 
1846, 1848 and 1855, and was made Chevalier of the Legion of 
Honor in 1849. Troyon died in Paris, 1865. ite 


CATTLE AT REST 51 
SOUVENIR DE LA FERME DE ST. AUBIN 55 


UNKNOWN (Byzantine ScxHoor) 
TRIUMPH OF CHRIST | 90 


H. VALKENBURG 


Born in Amsterdam, 1826; died there 1896. He was an excel- 
lent painter, but not poetic in his work. His interiors show cor- 
rectness of drawing and skilful treatment, with greater vividness 
of color than Israéls and others of the Dutch painters are accus- 
tomed to use. His pictures are truthful and realistic in character. 


THE SPINNER 33 


SIR ANTHONY VAN DYCK 


Born of a good family at Antwerp, 1599, the seventh child of 
twelve. His father was a silk merchant, his mother skilful as a 


; 


flower painter and embroiderer. When ten years old he was ap- 
prenticed to Hendrik van Balen, and in 1615 entered the Academy 
of Rubens, remaining five years as pupil and assistant. The mas- 
ter procured him an introduction to James I, whose portrait he 
painted at Windsor, and assisted him to visit Italy. Here he 
painted the portrait of Cardinal Bentivoglio, now in the Pitti Gal- 
lery. After five years’ stay he returned to Antwerp, and again 
Rubens helped him to favor. He paid an unsuccessful visit to 
England in 1627, and for three years lived in Antwerp and Brus- 
sels, painting religious pictures and portraits and etching the 
portraits of painters. In 1632 he accepted the invitation of 
Charles I, painted portraits of the king, queen and royal family 
now at Windsor, was knighted and appointed Court painter. He 
lived in sumptuous style at Eltham, and in the winter at Black- 


friars. Here he died in 1641, and was buried in the old Cathedral 


of St. Paul, near the tomb of John of Gaunt.. 


THE VIRGIN, INFANT CHRIST AND ANGELS 84 


J. VAN ESSEN 


Born in Amsterdam, 1857. Pupil of the Amsterdam Academy. 
In early boyhood Van Essen’s thoughts turned towards his future 
vocation and his great talent soon manifested itself. ‘The ease 
with which he overcame the first difficulties of painting showed his 
natural aptitude for his profession. His landscapes faithfully 
depict the scenes of Holland, and often with much sentiment. He 
is also an animal painter, his well-drawn and expressive lions and 
tigers having given him a reputation in a field heretofore occupied 
by few artists. 


LION COUCHANT Li 


MRS. S. MESDAG-VAN HOUTEN 
Daughter and pupil of the eminent painter H. W. Mesdag. 


A PEASANT’S HUT 39 


J. H. WEISSENBRUCH 


Weissenbruch lives at The Hague, where he was born in 1822. 
He was a pupil of B. J. Van Hove, and has been a notable figure 
among the Dutch landscapists, especially in his water colors. 


AT TWILIGHT 5 
ON THE CANAL | Se eae 


RICHARD WILSON, R.A. 


Son of the parson of Pinegas, Montgomeryshire, where he was 
born in 1714, Wilson’s taste for drawing attracted the attention 
of Sir George Wynne, who introduced him to a portrait-painter 
in London named Wright. In the same branch of art he 
contrived to make a living until 1749, when he visited Italy; and 
by the advice of Zuccarelli devoted himself to landscape. After 
six years’ stay in Italy he returned home to find Zuccarelli wor- 
shipped and himself neglected. In 1760, however, his ‘* Niobe ” 
made a great impression, and at the foundation of the Academy in 
1768 he was one of the thirty-six original members. His struggle 
with poverty was slightly alleviated by his appointment as Libra- 
rian of the Academy, but it was not till he received a legacy in 
1780 that he was able to return to a pleasant home in Llanberris, 
where he died two years later. It has been reserved for posterity to 
hail him as one of the great masters of landscape. 


TIVOLI 83 


ALEXANDER H. WYANT, N.A. 


The Adirondacks was the school in which Alexander Wyant 
found his art. He was a tolerable painter when he started from 
his home in Ohio for study in Diisseldorf, and there, also, must 
have added something to his craftsmanship. But it was face to — 
face with nature, as far removed as possible from conventions of 
the artistic workshop, or of any other kind, that he learned the 
secret of expression. Nature had much to say to him and he to 
her, and little by little he found the means to record their com- 


t 
i 


munings. So far as the world is concerned, the life of a true 
landscape artist, like that of a happy nation, has little history. It 
is recorded in his works. 

He was a National Academician, a member of the Society of 
American Artists, one of the founders of the American Water 
Color Society, and a contributor to all the exhibitions. So were 
other painters, much less memorable. These facts are merely mile- 
stones in his life. For the life itself—what it meant to him and 
the use he made of it—one must search his works. In these one 
finds the qualities of poetry; not of the dramatic, kindling style, 
but tender, alluring and infinitely delicate in expression. And 
withal, there is strength, only it is held in firm reserve. He was 
fond of gray and sombre effects, but could be sunny and buoyant 


when the mood was on him—in a manner most spontaneous and 


sympathetic. Born, 1836; died, 1892. 
AT SUNSET 78 


ROBERT WYLIE 


Born in the Isle of Man, 1839. Died in Brittany, 1877. 
Brought to America when a child. Pupil of the Pennsylvania 
Academy, Philadelphia, the directors of which sent him in 1863 
to study in France. Medal at Paris, 1872. 

To Robert Wylie is due the discovery and development of 
Brittany as a mine of artistic material. He it was who first settled 
to study and paint at Pont Aven, where, now that he is dead, has 
sprung up one of the most extensive permanent art colonies in 
Europe. Brittany affords material for the painter of figures of 


cattle, of landscape, and of the sea. Its picturesqueness 1s endless,. 


and its variety of pictorial wealth inexhaustible. The people in 
particular, preserving, as they do, the manners and costumes of the 
past, and being but lightly modernized in spirit, furnish the 
artist with abundant material. It was among them that Wylie 
found the successes which made him famous. 


THE THIEF a 88 


EE ee 


‘COLORS 


TER 


— 
hs 


CATALOGUE 


SALE AT MENDELSSOHN HALL 
FRIDAY EVENING, JANUARY 27, 1905 


BEGINNING PROMPTLY AT 8.30 0’CLOCK 


D9. Reid 


DAVID OYENS / 


Contemporary 


INTERIOR OF A STUDIO 


A corner of the studio is shown in which stands a table, 
covered with bric-a-brac. In front of it, nearly in the 
centre of the composition, a lady reclines in an arm-chair, 
leaning her head upon her left hand. Her figure is seen 
in profile, facing to the left. In a recess on the right of 
the background stand a piano and stool. 


Signed at the lower left, Davin Ovens. 


Height, 11 inches; width, 9 inches. 


ae 


| ae 


ol 


No. 2 
J H.-W. KERR, ARS.A. 


_ hand grasps a stick. 


4 i re ANTON MAUVE MM . 


Contemporary & ¢ 

A CONNEMARA BAILIFF 
The figure is represented half length: an old man in 
high black hat, resting his scrubby chin on a red necktie; _ 
wearing a brown waistcoat, unbuttoned, over a black one. — 
His right thumb is inserted in the armhole, and his left — 


Signed at the upper right, H. W. Kerr, ’88. 
Height, 13 inches; width, 10 inches. = 


No.3 


t. 1838—1888 


COW IN STABLE — + 


The scene is the interior of a cowbyre, with whitish 
weather-stained plaster walls, and a rude stall on the left. 
Facing this and standing across the picture is a white 
cow with a black head and neck, and a spot of black on the 
left shoulder. 


Signed at the lower right, Mauve. 
Height, 914 inches; length, 12% inches. 


_ ‘camel iA een or we 
a No. 4 


GEORGE POGGENBECK J 
1855— 
NIGHT 

From the extreme left of the foreground projects a 
street lamp, behind which are some trees. Between their 
trunks and foliage appears a row of white houses which 
occupies the back of the scene, until, a short distance from 
the right, it terminates on a corner, where a line of trees 
runs back. ‘The misty whiteness of the buildings is in- 
terrupted by the yellow glow in one of the windows on 
the ground floor. Conspicuous against the roof, the gable 
of which mounts in steps, is a large dormer window. 


bf 


Signed at the lower left, Gro. PoccEnBEcK, ’89. 


Height, 10 inches; length, 14% inches. 


iy , Wo A No. 5 if 


J. H. WEISSENBRUCH 
, 1824—1903 

AT TWILIGHT 

A house, with two tall, almost leafless trees close up 
on each side of it, stands dark against the sky, reflected 
in a stream which runs diagonally across the foreground. 
On the left of it is a green meadow. ‘The scene is per- 
vaded with the effect of waning light. 


Signed at the lower left, J. H. WrisseNsrucn. 
Height, 13% inches; width, 944 inenes. 


ee 


No. 6 


J B. J. BLOMMERS ie | 
| 1845— : | q 
4 wl? 


HAILING THE BOATS 


0 
\\\ Two women stand side by side on the sand, looking ~ 
out to sea, where a fishing smack approaches over the 
whitening water. Both wear white caps; the one on the 
left, whose dress is a dull slaty color, waves an arm; her 
companion holds her blue apron about a baby in her arms, 
and at her side on the sand lies a child in a straw hat. 


Signed at the lower left, Buommers. 


Height, 1444 inches; width, 11% inches. 


f x} 
ee 


. 's Ane JA UN No. 7 "3 
i | e M'* \" 
n K /’~ MISS A. NUGENHOLTZ 
ff Contemporary 
THE CART 


The back view of a two-wheeled cart, driven by a man, 
is seen upon the sandy road, which stretches back from 
the foreground. On the left of it is a row of four slim 
trees, and on the opposite side another of three, whose 
foliage encloses an open space of white light, visible at 
the end of the road, while overhead the sky is gray and 
stormy. Beyond the trees on each side stretch flat 
polders. 


Signed at the lower right, A. Nucenno.rz. 


Height, 11 inches; length, 18 inches. 


: CM No. 8 j 


TONY OFFERMANS f\ « 
1854— 4 0 
\ 


IN A DUTCH FARMHOUSE 


“The fireplace is on the right, and under the hood of 
it stands a woman in dark skirt and white tippet and cap, 
tending the pot. To her left, a bluish cupboard, with 
two dishes on it, stands against the whitish drab wall. 
Overhead is a raftered ceiling. On the left is a timber 
construction of post and brackets, through which streams 
of light reflect upon a brass pot that stands on the floor. 


Signed at the lower right, T. OrrerMans. 


Height, 13 inches; length, 18 inches. 


No. 9 
GEORGE POGGENBECK v4 


1855— aa { 
CALVES IN A CLOSE We 
In a green spot, enclosed with @ stout timber fence 


and trees, lie three calves. ‘The black and white one in 
front of the group faces to the left; the others, respect- 
ively, brown and white and black and white, are turned 
in the opposite direction. A fourth calf, black and white 
in color, lies, facing us, under the shade of a beech tree on 
the right. 


(yU 


cs 


Signed at the lower right, Gro. PoccENBECK. 


Height, 12% inches; length, 18% inches. 


5 r tee — 2 ee La ee eee 
| 46.3 “+ “No. 10 


Fy: _ No. 11 i 
ft JACOB MARIS MK ; | 


a 
we 
y ~ 


J. S. H. KEVER 
1854— 


DIVIDING THE PROFITS 


A little boy in blue shirt sleeves is sitting in a chair, his 
feet in sabots dangling above the floor. In front of him, 
to the left, stands a.smaller child, dressed in a dull blue | 
skirt, drab waist-body, and long-sleeved white chemise. 
Her hands are joined to his, and both heads bend down in — 
absorbed interest. Upon the left is the glow of the fire- 
place. 


Signed at the lower right, Kever. 


Height, 18 inches; width, 13% inches. 


1837—1899 


AT DORDRECHT 


The sky’s paling light is reflected in the water of the 
harbor, the scene otherwise being shrouded in gloom. 
Barges, one of them with a sail flapping loose, are moored 
on the right against a high bank, which is covered with 
trees. Above their tops, near the centre of the composi- 
tion, is visible the sloping roof of a church tower. ‘To 
the left an arched bridge makes a dark band between sky 
and water. 


Signed at the lower right, J. Maris. 
Height, 13% inches; length, 19 inches. 


a 


No. 12 


WILLEM ms [ J J iy} jv 


P 1844— | 
| MILKING A 


Beside a post and rails on the right of the bright green 


pasture a boy sits milking a red and white cow, which 
faces the spectator. In the distance on the left appear 


other cows, and on the horizon indications of roof s, under 
a delicate pearly sky. 


Signed at the lower left, Wiu1em Maris. 
Height, 13% inches; length, 19 inches. 


re ae” ae 


F. P. TER MEULEN ee 
1843— 


THE SAND CART 


The last light hovers pale along the horizon, and the 
scene is wrapt in gathering darkness, except where a faint 
reflection shows on a pool of water in the sandy fore- 
ground. A two-wheeled cart drawn by a brown and 
white ox is moving across toward the right.. As the driver 
walks beside it, his head and shoulders appear above the 
animal. 


Signed at the lower left, Ter Mrvuten. 


Height, 11 inches; length, 20% inches. 


ae  pighinee 
eae Pea, 


o” pe 


1° J 


MRS. M. P. BILDERS-VAN © 
1837—1900 


IN A BEECH FOREST 


fa, Sat of the other trees, stands a big gray trunk, Pras, 
smooth finger-like roots grip the mossy ground. aR The 
latter rises Conte toward the back, where feathery t trees _ 
show against a fresh gray-blue and white sky. The top 
of the picture is filled with tawny yellow foliage. } 


yon. 
Signed at the lower right, M. Birpers-Vawn Bosse. 
Height, 12% inches; length, 21 inches. 


MISS MARGARETHE V. ROSENBOOM 


Contemporary 
ROSES ; 
On the left corner of a table lies a spray of roses. 
There are three very full-blown white blossoms tinged 
with pink, and, projecting on the left, a bud. 


Signed at the lower right, Maret. Vocrr. RosrnBoom. 


Height, 13% inches; length, 20% inches. 


) Knorr... 
No. 16 


1e51-— 


_ A LANDSCAPE 


Against a gray sky, full of clouds, lies a dull olive- 
green hill, divided up into fields. On the right rises a 


slender tree. From the base of the hill water stretches 


pe 


to the front of the picture; a bright green spur of pasture 


jutting into it from the right, and another of lighter hue 


projecting from the left nearer the foreground. The 
banks and the water itself are sprinkled with rushes. 


Signed at the lower left, Tu. pe Bock. 
| Height, 14 inches; length, 21 inches. 


No: ¥7 
JAN VAN ESSEN 


1854-— 


LION COUCHANT 


The lion is lying with his head to the right, the cheek 
flat to the ground; the legs and tail extended on the left. 
His left hind paw protrudes between the other hind leg 
and the right front one. His eyes gaze sleepily at the 
spectator. 


Signed at the lower left, JAN Van Essen, S. 1894. 


Height, 13% inches; length, 22 inches. 


a 
Y (avh- 
THEOPHILE DE BOCK ¥ Q) 


a ee ee 


“siaacailiidhalipinse aon caicoaamdbamuad secaeiiittaienen 


swore 


“ay 


ee ee ee a ee ee 


: ‘feet No. 18 ; 2 ‘ 7 
f ‘ANTON me 
1838—1888 


WINTER IN HOLLAND 


The level country is covered with snow, out of hich | 
stand up a few blades of grass, in the distance on the — 


right a single slender tree, and on the left of the fore- 


ground a scrubby hedge. Opposite to it on the right are 


indications of a ditch. The fence rail between these two 


is being lifted by the shepherd, around whom the sheep A 
are massed. ‘The sky is dark gray on the horizon, but 


_ slightly tinged with rose in the upper space, where a few 


birds are flying home. 


Signed at the lower right, A. MAvve. 
Height, 15 inches; length, 22 inches, 


No. 19 


1837—1899 


i TACoB. See We 


SUBURBS OF THE HAGUE 


From the centre of the foreground a stream winds 
back irregularly between mossy banks. Stretching al- 
most across the front of it is a punt; a man in blue sitting 
in the stern of it by the left bank. The meadow from 
this point extends back to a clump of trees. In the centre 
of the horizon roofs are visible. Over the horizon is a 
tall white sky, with a patch of blue half-way up on the 
left, and gray toward the right. 


Signed at lower left, J. Manis. 
Height, 16 inches; width, 13 inohes, 


r ig og es ae a lalallies 


No. 20 


1844—\ 


A COOL SPOT dvvke 


_ There is a peep of sky in the upper right-hand corner; 
otherwise a profusion of greenery forms the background 
of the green bank, which slopes down to the limpid green 
pool that occupies the foreground. On the edge of' the 
water, while her little ones are coming down the bank or 
already swimming, a white duck is preening her feathers. 
On the bank itself rests a black duck with a white one be- 
hind it. 


WILLEM MARIS fe | 5 4 OD ‘ 


Signed at the lower left, W11tem Marts. 


Height, 17 inches; width, 12% inches. 


No. 21 


a a 
WILLEM vi | 7 f | 4) U 
| 1844— vi A 
COWS IN THE MARSH we 


In the foreground appears a little pool, with rushes 
on its edge and some tall reeds on the right bending over 
in the wind. It reflects the shadow of,.a brown and white 
cow that stands on the side opposite to the spectator, 
facing to the right. A little farther back in the moist, 
green pasture is another, whose dark brown body is turned 
nearly square to the front. Others appear in the distance. 


Signed at the lower right, W1LteEm Maris. 


Height, 15 inches; length, 20% inches. 


aa ee 


/ 


a> 


re 


ov 


Rate ee NO. 22) ae 
>» XX | , 
XY ¢- ANTON MAUVE 


1838—1888 


BOY AND COW 


In front of a hedge which crosses the ‘iene pect 
a gray and white lowering sky, stands a boy, holding bys 
rope that passes from its horn a cow; both facing to the 
right. The beast is white, with a black mark on her neck q 
and black patches on her flank. The boy, dressed in a 
blue shirt, drab suit, and sabots, holds a stick, which pro- — 
jects behind him. 


Signed at the lower right, A. MAvve. r 
Height, 16% inches; length, 23 inches. — 


ph 


JOHANNES BOSBOOM 
1817—1891 


IN A DUTCH BARN 


A row of timber stalls extends along the left of the 
barn. At the end of it is a large fireplace, with some — 
Delft plates resting against the wall on the mantelshelf. 
A woman stands in front of the fire, the hght from a win- 
dow in the right wall falling upon her back. Against this 
wall leans a spade and broom. ‘T'wo cats are sitting on 
the floor to the left. 


Signed at the lower right, J. Bosnoom. 


Height, 14 inches; length, 27 inches, 


No. 24 


M. KAMERLINGH-ONNES \ s0- 
a 1860— 

FLOWERS 

h In a glass globular vase is a profusion of roses, of 

| white and delicate pink color. Behind them appears a 

screen with dark panels enclosed in gold mounts. 


Signed at the lower right, M. Kamertincu-Onnezs, 1890. 


Height, 21 inches; width, 16 inches. 


ect 
1¢ Ph 7 No. 25 
| LUDWIG DETTMAN v4 6 0 


1865— 


THE POTATO HARVEST 


In the foreground of the field, toward the left, a 
woman kneels beside a basket, picking up potatoes. Her 
figure is seen in profile, facing to the right. Behind her, 
with his body turned in the opposite direction, a man is 
digging, and beyond him stoops another woman. Near 
her are little coils of smoke from the burning vines. On 
| the right of the picture a road winds up to the sloping 
horizon, above which hangs a pale moon in the darkened 
pale-blue sky. 


Signed at the lower right, L. Derrman, ’89. 


Height, 16% inches; length, 22 inches. 


a a a a ee 


ee | 


_ to an old woman who sits by a table near it stitching, and 


1861—. 


SCHEVENINGEN FISHER- GIRLS ey 


The heads of the three girls, close together, mount ty 

a diagonal line from the right lower corner. Each wears — 
a white cap; the centre having metal disk ornaments at— 
the sides of the forehead, the others little tufts of rib- — 
ands. The hands of the girl in the middle are shown, — 
engaged in knitting, over which she bows her head. The — 
shoulders of the outside girls are crossed with the flaps of — 
their white aprons, while the other wears a black and white — 
striped gown. | : 
Signed at the lower left, P. pe Jossez1n pE Jone. 


Height, 16 inches; length, 25 ysl aes 


NO. O27 Lew q 
ced 
ALBERT NEUHUYS K. AN . 


1844— \ blaae 
IN A DUTCH HOUSE 


The light streams through a window at the left, on 


on to a little child that stands by the table, facing the win- 
dow. On the left of this group and nearer to the front 
sits an older girl reading a letter. Dressed in a dark blue 
gown, her figure is seen in profile, facing to the right, and 
makes a dark spot against the light. Beside the gray 
wall on the right of the picture stands a reddish brown 
cupboard. 


Signed at the lower right, Aturrr Nevnvys. 
Height, 22 inches; width, 17% inches. 


7 


No. 28 


JOHANNES BUS ROOM 


1817—1891 (3 AY ie . 


IN THE CHURCH, MIDWOLDE, HOLLAND 


A portion of the church is shown in the foreground, 
separated by a pointed arch from the transept beyond, 
in which under a lancet window is a tomb with a recum- 
bent figure upon it. A man and a boy are standing in 


| front of it, facing the window, in which is colored glass, 


representing among other designs what seems to be a coat 
of arms. Outside the arch upon the right is a wooden 


pulpit, surmounted by a sounding-board, and in front 


of it are rows of dark oak pews. The following inscrip- 
tion appears at the bottom of the picture: “ Kerk met 
Graf Tombe te Midwolde, prov. Groningen.” 


Signed at the lower right, J. BosBoom. 


Height, 22 inches; width, 17 inches. 


The RO 
y wv W. B. THOLEN SA 
1860— 


AT THE BUTCHER SHOP 


The scene represents the dim interior of a butcher 
shop, with a view through the open door at the end of a 
pale-lighted street. On the left of the shop a beef and 
a sheep are hanging from the ceiling. With his back to 
them the butcher in blue blouse stands at the block, cut- 
ting meat. His figure shows dark against the light in 
the doorway. 


Signed at the lower left, W. B. THOLEN. 
Height, 19 inches; width, 12 inches. 


1838—1888 


IN THE SHEEP STABLE, LAREN © 


The interior is of drab-colored boards, with a one 
the right that helps to support the ceiling. Along the 
back wall, above the feeding rack, is a slit, where the 
woodwork has broken away; and through it the light £ 
strikes on the blue blouse of the shepherd. He is stoop- 
ing to place an armful of food in the rack, and the sheep 3 


are crowding to it. | | ' i. 


a M1 om ay a 7 


Signed at the lower wight, A. Mavve. 
Height, 17% inches; length, 24% pecker: 


as No. 31 


& ; Y v J. S. H. KEVER 


“ 


‘\ 


vv 1854— 
\O THE NOONDAY REPAST 


In front of the window on the left, which is sereened _ 
with a white muslin blind, stands a table with two dishes _ 
on it. At the side removed from the spectator, so that — 
she is facing him, sits a mother with a baby on her lap, 
feeding it with aspoon. In the centre of the floor a little _ 
boy, in slate-colored trousers and blue shirt, kneels on the’ 4 
tiles, eating his meal from the top of a box. 


Signed at the lower left, Krver. 
Tleight, 23% inches; width, 17% inches. 


ee sie wee io a fe hia ’ ; a Sa gre ae - ; 


ak Nol. 82 7. : 
| MISS WALLY MOES f 70 ae 

YOUNG DEVOTEES allt bowel a 

_ Five little girls with rosaries in their hands are kneel- . 

_ ing with their faces toward the left. Three of them are 

_ bowing their heads; one gazes sideways toward the altar, 

_ or whatever may be the object of their devotions, which is 

not shown in the picture, while the little one in front faces 

; the spectator. Their costumes are slate and gray and 


_ black, with touches of red. 


_ Signed at the lower right, Watty Moes. 


Height, 22% inches; width, 14 inches, 
} = 


.— . }7o- 
i ry N | No. 33 3 
i | HO VALKENBURG vA 

1826—1896 


THE SPINNER 


The kitchen is dimly lighted from a window at the 
back, and from another one, high up on the right, beyond 
a beam-supported opening. Beneath the former window 
stands the spinning wheel, in front of which sits a woman, 
feeding the wool on to a winder at her left side. 


Signed at the lower right, H. VALKENBURG. 


Height, 17% inches; length, 201% inches. 


COWS IN THE FOREST hae z 


F, P) TER MEULEN ee 


1843— re: Ae wie - 


In the foreground of a leafy spot are orien ‘four S 
cows. In front on the left is a dun, almost facing | us, 
and to her right a black one, her body turned three- -qui r 
ters to the right, but the head full to the front as she 
grazes. Behind this one are two others. A little back 
on the left appear the head and shoulders of a girl among | 
the bushes. . 


art 
Signed at the lower left, Ter MEULEN. - 
Height, 17% inches; length, 28% incon Pel 


No. 35 


7 / Be oa : 


1845— 
o™~ 


GIRL KNITTING Ge 

A young girl is sitting on the left end of a window- — 
seat knitting. Over one of the casements a blind is — 
drawn, but the other is open, showing a view of palings — 
with trees beyond. The girl wears a blue apron, and be- — 
low it peeps out a bare foot. To her right a baby is seated 
on a chair, its little body shown in profile, with the toes — 
sticking up. | 


Signed at the lower right, BLomMeERs. 


Height, 24% inches; width, 19 pels 


“ ee aa 


eee te ke Sie 


ta sie Be 


oo ae Sa Te eee See res 
ne 1 Pa ay 


No. 36 


_ OCTOBER—HOLLAND 
A. large slate-colored barn fills the right half of the 


background. In front of it is a flock of sheep, with a 
shepherd in blue coat and black trousers at their head, 


his black dog sitting to the right of him. Upon the left 
of the composition oaks and plane trees reach to the fore- 


_ ground, on the right of which is a pond interspersed with 


patches of green grass. Overhead is a gray hazy sky. 


Signed at the lower right, N. Basrert. 
: Height, 18 inches; width, 27 inches. 


fat ; : 
LOUIS APOL v6 
1850— 


A WINTER MOON 


A driveway, covered with snow, leads back from the 
foreground to a gate between stone posts. The road 
is bordered on the left with low bushes, encrusted with 
snow, while on the opposite side the branches of trees are 
bowed down beneath their white burden. A pale moon 
hangs high up in the dark, slaty-colored sky, its hght 
gleaming on the tops of the stone posts and diffusing a 
gentle radiance over the drive and in and out among the 
masses of snow-laden foliage. 


Signed at the lower right, Louis Apot. 


Height, 20 inches; length, 26 inches. 


NICOLAAS BASTERT yy pe % 3° 6 
1854— 


ee oS Re ee ee 
+ - a ’ 


Ch 


y 
ey 


QO | 


*” 


No. 38 


JHAN FRANCOIS MILLET 
_1814—1875 


THE CLOSE OF DAY (an 
| Pastel 


Standing among the clods he has been hoeing, a laborer 
in drab clothes has laid down his mattock and is drawing j 
the sleeve of a dull red waistcoat on to his left arm. Far- | 
ther back on the left of the field, already silvered over with | % 
the paling light, stands a plough, the two horses appear-_ 
ing over to the right, on the way homeward to a village q 
indicated on the horizon. The lower sky i is slightly tinged — 
with rose, but high up, where the evening star gleams, it i 1S 4 
pale blue. 
Signed at the lower right, J. F. Miter. 
Height, 28% inches; length, 3614 inches. 
From the Sale of the M. EK. May Collection, Paris, 1890. Catalogue Wo. a 


(Exposition Centennale de 1889) 
No. 39 I ae 


MRS. S. MESDAG-VAN HOUTEN 
1834— 


4 
& 
Vi 


A PEASANT’S HUT 


Three corn sheaves stand erect on the right of the 
foreground. Behind them is a white-walled cottage with 
a pitched roof of thatch, which at the side slopes clear | 
down to the ground. Nestling close to it, on the right, 
is a haystack. On the left of the cottage a woman in a 
white cap stands with four hens dotted round her. 


~ 


Signed at the lower right, S. Mespac-Van Houten. 
Height, 20 inches; length, 28% inches. 


AA. No. 40 — : 
Va 503 
ALBERT NEUHUYS | 


1844— i 
AA 


Be 5 
ALONE IN THE WORLD \\‘ 
/ In the middle of a comfortable kitchen an old woman 
_ sits peeling apples, her figure being turned a little toward 
_ the right. At her left stands a table with a white cup 
on it, and by the leg of the table a black hen is pecking 
on the floor. Behind the woman’s figure, to the right, a 

pot hangs over a bright fire. 


Signed at the lower right, Avpery Nrvunvys. 


Height, 21 inches; length, 27 inches. 


No. 41 


g A tot JOSEF ISRAELS A % he 


1824-— 


JAN IN THE BABY-CHAIR 


The chair occupies the centre of the picture, wheeled 
~up with its back partly turned toward the fireplace on the - 
left. The brown woodwork rises above the baby’s head, 
and the cylindrical front of the chair encloses its legs. 
The rosy face, encircled with a white cap, bends down to 
watch a silvery black eat that, seated on the tiled floor, is 
reaching up with its paws against the front of the chair. 
The wall at the back is grayish blue below and darker blue 

_ above. 


Signed at the lower right, Joser Israéts. 
Height, 29% inches; width, 24 inches. 


(See letter of Josef Israéls under No. 74) 


No. 42 


A. M. DE NEUVILLE 
1836—1885 ' 


THE FLAG OF TRUCE 


From under the arched gateway in the ramparts, along — 
the snowy road, approaches a German officer, accom- 
panied by a bugler and a sergeant, carrying a white and 
black flag... Blindfolded, they are being escorted by a de- 
tachment of French troops. As the group passes a shat- — 
_ tered house on the right of the street, a woman with a — 

baby in her arms rushes forward, shaking her fist and _ 
hurling maledictions. A man checks her advance in his 
arms, and an old woman at her back seems to be implor- 
ing her to restrain herself. Other figures complete the — 
group. On the right of the foreground a man is rais- — 
ing the trap-door of a basement, and an old woman, at- — 
tracted by the outcry, stands beside him, peering out into — 
the street. On the extreme left of the foreground is a — 
barking dog. | 7 


Signed at the lower right, A. p—E Nevvitte, 1884. 


Height, 26 inches; length, 36 inches. 
Exhibited at the Salon of 1885. 


MK. 522 9- Ain ie ent) 


‘ 


No. 43 


J. H. WEISSENBRUCH / f 


| ‘ae 1824-1903» 
ON THE CANAL Kk Golo 


On the canal which runs an from the front of the 
picture lie two barges, moored end on to each other beside 
the bank. ‘The latter is a village street bordered on the 
left by a row of houses, while on the opposite side of the 
water appear two other houses. In the foreground of 
the street, opposite to one of the landing stages, a woman 
in a white cap is walking away from us. A little farther 
back two other women are approaching, and a man stands 
by the gang-plank of the hinder barge. Cold gray clouds 
are rolling in the white sky. 


Signed at the lower left, J. H. WetsseNBRUCH. 


Height, 18% inches; length, 26 inches. 


jive 


NTINGS 


hy 
ae 


: ors ‘SAINT BONVIN 
: 18171887 , 


or and ; paved with fae squares of alter- 
d white marble. In the centre of it is a 
nd rd candlestick, ‘and in the left corner a nun, 


ic habit and white veil, kneels at a prayer-desk in 
of a _ crucifix: which iene upon the wall. Above 


ce ae another nun, similarly habited, is moving 
toward a brightly lighted court, the walls of which are 
x ecorated with rose and gray. 


_ Signed at lower Kt, F. Boxvin. 
Height, 13 inches; width, 11 inches. 


No. 45 


s 


EUGENE FROMENTIN, 
| 1820—1876 


ARABS ON THE MARCH — 


The scene is a level stretch bounded by Pocky hills. | $ on 
the right advances a camel bearing a howdah with curtains” | 
of striped red and blue. It is attended by footmen. and ; 
a rider on a gray horse. In advance of it, occupying the a 
centre of the picture, caracole two horsemen: the nearer to. 
us, with an amber-colored cloak over a red bodice, upon a 
dapple-gray; his companion, dressed in dark blue, upon a 
black horse. On the left of the picture, with his back to 
the spectator, is the leader of the cavalcade, mounted upon a 
a chestnut, with the white veil of his head-dress — falling 
over a black cloak. Emerging from a gully in the middle 
distance appear other men a-horse and on foot. 


Signed at the lower right, Eve. Fromentin, and dated Baty lower left,’75. 


Height, 12% inches; length, 16 inches. 


A// 0-0 - 


No. 46 a 


RICHARD NORRIS BROOKE 


1847— 


THE HARVEST FIELD 


On the left of the foreground, where a dog sits beside 
a basket and sickle, two sheaves are lying in the stubble. 
From these a line of shocks extends diagonally across the 
field, near the end of which is the figure of a man at work. 
The view is terminated by two smooth hills under a whit- 
ish-gray sky. 


Signed at the lower right, R. N. Brooke. 
Height, 10 inches; length, 15 inches. 


No. 47 


J. BAG COROT | 
1796—1875. 


LAKE NEMI (tlre = | 


Beyond the foreground of richly aa by. 

grass a figure is descending the farther slope. 

left are two beech trees, on its right a willow and ¢ x 

= their trunks and branches showing dark against they rm, 

creamy sky, upon which the f. oliage 1 1S delicately fu urred, 
darkening toward each side. a 


Signed at the lower right, Corot. 


a 


wae 


on ¢ ni against a dark Becberonnd: The soft, 
o" le hair is short and parted down the centre. The 
ee oa ints have a soft gray bloom, the delicacy of which 
is heightened by the contrast of the double layers of white 
_ collar. The sleeve of the doublet is of dove-gray silk, — 
_ while flashes of rose and amber brighten the front of the 
garment. 


' — 


‘Signed at the sper left, F. Royser. 


ole { Height, 16% inches; width, 12% inches. 


— 
nal : a 


_ descends, and above the brink of the bank appears in the 
centre the pollarded top of a willow, from which a few 


No. 49 é ‘ 
J. B. C. COROT oo 
is <a 


1796—1875 


VILLE D’AVRAY 


The foreground is a meadow of soft gray-green grass, — 
in the centre of which a woman in a red cloak and white — 
cap stands by a child. Some distance back the ground _ 


‘+, ee 


branches spread. To the left of it the chimney and 


brown roof of a cottage are visible between two tree ; 


trunks. On the opposite side of the picture are two 


other trees and the roof of another cottage. Farther 


back a line of water crosses the composition, bounded by 
low hills. The dark olive and amber-gray foliage of the 


trees is softly blurred upon the white cumulus clouds, — 4 


that pass above into a warm gray sky.’ 


Signed at the lower right, Coror. 


“ 


Height, 11% inches; length, 16% inches. 


al eye B. €: COROT . 
Rit oy hee ; 
. % 1796—1875 : 

“ag MASSTUDY - 2 

sft of the ‘picture. is a light gray tree trunk 
( by masses of soft, olive-green foliage. The 
. foreground slopes up to an edge, on the other 
f which is a descent. On the brink, beside the foot 
of a dark trunk, stands a leopard, its form silhouetted 
against the bright, rosy horizon. Above it hang flakes of 
_ fainter rosiness in the warm, grayish-blue sky. 


~ 
Sh 
oS 


Height, 15% inches; width, 12% inches. 


No. 51 


CONSTANT TROYON | 
1810—1865 


CATTLE AT REST. 


In the foreground of a level pasture rests a group 
of cattle, surprised in their ruminations by a black sheep- — | 
dog. He is looking up at a black cow, whose head, with | 
a tuft of white between the horns, is gazing down at 
him from over the back of a white cow with a red head — 
and a red spot on its back, that les facing to the right. | 
Seen above her broad back, on the left, stands a brown- — 
ish-black bull-calf, with a light patch on its hind leg. 4 
Overhead is an expanse of grayish-white sky, broken Dee 
a space of pale blue high up on the left. : 


“ a ; 


Signed at the lower left, C. Troron, and bears seal, VENTE TRroyon. 


_ Height, 18 inches; length, 21% inches. 


erges. os the opposite side of the. way, a woman in 
a 1 geranium-colored garment sits playing with a child that 
“lies inside the doorway. Behind her stands a woman with 

Be aya in her arms ; and farther back is a group of chil- 


boven f * 


~ = 


, ‘Signed at the lower right, G. GUILLAUMET. 


Height, 16% inches; width, 13 inches. 


ye , No, 58° - | 28 
\\ / CHARLES FRANCOIS DAUBIGNY:- 
emer 


A SUMMER LANDSCAPE 


A man, with a burden on his back, Bridie! along 
the dusty road, which stretches from the left of the pic- 
ture to a spot in the centre of the horizon marked by three 
slender poplars and a clump of dark willows. Between 
these and a mass of trees that fill in the left of the hori- 
zon appear the church spire and roofs of a village. The 
ground slopes gently toward the right, where the bend of | 
a river is visible. Gray cumulus clouds roll over the 

horizon, softly blurred on the right, but toward the left 
tossing and smoking in volumes of eee and. darker — 


Bray: \ ‘r wpa & 
Signed at the lower right, Daunieny. 


Height, 16% inches; length, 2814 inches. 4 


i 
| 
| 


No. 54 
THEODORE ROUSSEAU We 


1812—1867 
EVENING A L 


On the left of the foreground is a steep bank, covered 
with grass and fern and boulders. A man in a white 
shirt is descending it, to gain a turf-covered path that 
leads back under the trees to a little opening of light. 
Through the rich, olive-brown: foliage appears a trifle of 
red in the sky, which above the tree-tops is filled with little 
creamy and rose clouds. 


Signed at the lower left, Tu. RovssEav. 
Height, 13% inches; width, 81% inches. 


Originally from the Collection of M. Lovis Manvte, Marseilles. 


a» A ob ft te of. 


ix" 


No. 55 


CONSTANT TROYONy, eee 
1810—1865 | 5 ut ot 


eas 
SOUVENIR DE LA FERME DE ST. AUBIN 


Standing in a pasture that stretches back to a dis- 
tant line of trees are a cow and a donkey. ‘The former 
is seen in profile, fronting to the left; turning, however, 
to the spectator its head, which is evenly marked with red — 
patches, divided by a narrow line of white from the crest — 
to the nose. The rest of the body is white, and upon its 
the main light of the picture is concentrated. In front, — 
turned three-quarters to the right, stands the eee 
black except for a spot of white above the nose and an-— 
other on the chest. | : 


Signed at the lower right, C. Troyon, and bears seal, Vente Troyon. 


Height, 21% inches; length, 26 inches. 


“Jaca Cb, 26% 


eA GUILLAUMET VA 


1840—1887 


SPINNERS AT LAGHOUAT 


The scene is the interior of a house in the Sahara. 

_ On the left sits a woman in a rose-colored gown with a 
_ black cloak over her shoulders, carding wool. At her 
side hangs from a hook in the ceiling the skin contain- 
ing water. On the right of the picture, beside a sleep- 
ing berth, rudely constructed of undressed timber, on 
which is a baby, stands another woman in white costume. 
With her left hand she holds a distaff above her head, 
while her right hand twists the thread to which the spin- 


dle is attached. 


Signed at the lower right, G. GuiLtauMeET. 


Height, 15% inches; length, 20 inches. 


If "4 bens tT a5 


aot 


at 


is 
yw 


JOHN CONSTABLE, R.A. 
1776—1837 


No. 57 


A HEATH 


‘Two donkeys stand in a hollow of the andi which 
occupies the right of the foreground. A little farther 
back in the centre appears a pool beside which stand a 
man and two donkeys, and sloping up from the left side 
of the water is a smaller mound of sand, on which rests 
aman in a red shirt. Beyond this mound is an elevation — 
covered with yellowish-brown trees, and the latter are 
continued across the horizon, dipping down in the centre 
and rising to a windmill on the right. Just above the 
lowest point hovers the funnel of a storm cloud, which 
spreads away through the right of the sky in a bluish 
drab mist. Against the latter show the black and whites 
wings of a number of plovers. 


Height, 24 inches; length, 29% inches. 4 


ae 


iy we 
wa Yo 


KARL DAUBIGNY vs J G0 - 


1846—1886 


: 

EARLY MORNING ON THE OISE 

On the high bank to the left is a row of white, 
_ thatched cottages, beside which a tall poplar rears up 
- above some other trees. By the path which descends to 
the water’s edge a woman in white bodice and blue skirt 
is approaching to fill her pitchers. The ferry-boat has 
just touched the bank, carrying a woman in a red cap, 
a dun cow and two black ones. The ferryman is pull- 
ing in a small boat alongside. Beyond this group, 
among the rushes which grow in the river, is a man in a 
punt. A clump of small trees closes in the right of the 
picture, and beyond it in the centre is a view of low dis- 
tant hills. 


Signed at the lefi, Kart Davsicny, 1871. 


Height, 15 inches; length, 25 inches. 


oa 


4 oes te ae 


<< 


2 ii ANTON MAUVE | 


No. 59 


1838—1888 re 


HUNTER AND DOG—EARLY MORNING _ 


A cold glare lies along the horizon, above which gray 
clouds are scudding under a roof of dark gray. 
hunter, in a black coat, with game-bag slung under his 
left arm, and his gun carried, with muzzle down, under 
his right, moves across the rough ground, on which 
patches of sand show between the scanty grass. By his 
side is a white and tan setter, that is looking off toward 
a bunch of leafless bushes on the left of the picture. _ 


Signed at the lower right, A. Mauve. 


IK TS Tf 


Height, 20 inches; length, 3142 inches. q 


OS  —— 


Sn at et eee ee 


es 


D Chowne) . 


Ae 


No. 60 | *) 0: 
CHARLES FRANCOIS DAUBIGNY | 


; 1817—1878 Coe 
LE LAC 


On the right of the foreground, lush green grass ex- 
tends to the water’s edge, where two laundrywomen kneel 
at their work. Farther back along the same bank a 
single-masted barge is moored, a rowboat floating at each 
end. ‘The mast rears up against the range of a yellow- 
ish hill, above which is a bright horizon, overtopped with 
volumes of pearly-gray clouds. Upon the left bank, in 
the middle distance, stands a clump of poplars and shorter 
growth. 


Signed at the lower right, Dausicny. 


Height, 11% inches; length, 21 inches. 


a) No. 61 
0 i JOHN CONSTABLE, R.. 
1776—1837 iW. fit 
HAMPSTEAD au 


The foreground is occupied by a large sandhill, vis ) 
ing from left to right in a somewhat triangular mass, — 
crowned by a white house with red roof. At the bot- — 
tom of the hill, upon the right, two men are busy with a 
cart, to which a brown horse is harnessed, while a white — 
one, loosed from the traces, stands facing it. Coming 
round the foot of the hill, on the left, appears a man in © 
charge of three donkeys. Beyond them lies a pool of © 
blue water, on the edge of which a donkey, ridden by a 
man in a white shirt, is drinking. On the left of the 
middle distance rises an eminence, upon which a white 
house shows among the trees, two of the latter being © 
poplars.’ Another white house dots the plain which ~ 
stretches back to the horizon. Shaggy dark clouds drive — 
across the sky, which, however, grows lighter toward the — 
right and shows a glimpse of blue. 


Height, 25 inches; length, 30 inches. 


oe No. 62 aoa | 2 po 7 
ot Ss. Ho KEVER ' | 3 
ie ae 1854— 


an USING THE BABY 


Vv ith her back to a window on the left of the com- 
e child sits holding. a baby on her lap, whose fat 
face bends forward to look at the antics of a black kit- 
en. It is: lying on its back on the tiled floor, with its 
5 our white paws in the air. The sight also attracts the 
B32 attention. of an older girl, in an olive-black gown and 
“black cap, who, sitting in the centre of the floor, bends 
‘forward. At the back of the room is the dark recess of 


‘the fireplace, where some embers glow on the hear th. 


5 Signed at the “lower right, Kever. 
Height, 21% inches; length, 261% inches. 


C0 4 WALTER GAY 


1856— 


A PROVINCIAL ASYLUM 


The scene is the corner of a sunny room with win- ; 
dows on both sides. White curtains are drawn across — 
their lower part, but above appears a view of a court with — 
red brick walls, enclosing trees. Along the left-hand 
window stretches a table, at which, with her back to the | 
light, sits a young woman. In the centre of the room 4 
an old woman in a dark drab dress with a blue apron, and ~ 
a shawl over her shoulders of creamy stuff with rosy — 
flowers, stands occupied with her needle. Back to the — 
night- -hand window sit two other women, stitching; one — 
wearing a pale blue, the other a yellow apron. On the 1 
extreme right of the foreground is a basket filled with 
needlework. 


Signed at the lower left, Waurer Gay. 
Height, 28 inches; length, 37 inches. 


: 
No. 64 


GOTTHARD KUEHL iv / YO 
1851— $ 


AN ORPHAN SCHOOL 


Parallel rows of brown-topped desks, spotted with 
children, fill the angle of the school-room, which is bright 
____with the sunshine that streams through the tall windows 
: on the left. In front, a girl in a yellow dress is leaning 
over the desk, writing on a slate; a child, resting her 
| bushy head on her hand, sits opposite; to the left another 
is knitting; two gaze through the window, while three 
are playing with a doll. On the gray wall behind them 
hangs a large map of Europe. 


Signed at the lower left, G. Kuen, Paris. 


Height, 37 inches; width, 27 inches. 


No. 65 
07 
| 5 | EUGENE ISABEY 


1804—1886 


A SHIPWRECK 


A slash of scarlet appears to ‘the left of the aarkcneal a 
sky. In the gloom which wraps the distant sea a two- — 
masted ship is dimly visible. The crew has escaped in’ 
the small boats, and these are huddled together in the. a 
clearly lighted foreground, tossing in the tumult of the 
water. One boat is capsizing ; two men are clinging to — 
its gunwale; others struggle in the water, while the rest 
of the survivors present a tangled mass of es and < 
moving forms. . ; wae 


- jeg 
Stamped on the lower right, Vente IsaBey. ; ; aes 


Height, 191% inches; length, 57% inches. 


5 
4 


— » Del 


No. 66 


1838—1888 


Ba 


SHEEP COMING OUT OF THE FOREST 


Except for a patch of white and pale blue sky in the 
left top corner, the back of the picture is filled in with 
pine trees, between the trunks of which appear vertical 
slits of light. ‘The sheep are streaming out from under 
the trees on to the pale sandy-colored grass, the light fall- 
ing on their backs while their sides are in shadow. In 


the midst of them moves the dark-coated shepherd, hold- 


ing his crook horizontally across his body, while his dog 
watches in front. 


Signed at the lower right, A. Mauve. 


Daleic ff Nk 5877 Height, 32 inches; length, 43% inches. 


“Sheep Coming Out of the Forest,” by Anton Mauve, is another fine example 
of Dutch art. Mauve must have loved sheep; he paints them with such feeling. 
He seems to have known all their ways and to have delighted to portray them 
shyly huddling together, confidently following their leaders or on the roadside. 
This picture was the one for which the artist received his medal in the Salon of 
1887. At the same time he exhibited a much larger and some thought a more 
important picture, which is now owned by Mr. Joseph Jefferson. Many persons 
are under the impression that the latter picture received the medal. Mr. Richard 
N. Brooke, the Washington artist, informs me that when he was in Larens in 1890 
Mme. Mauve assured him that it was the smaller picture, in the Salon of 1887, 


ANTON MAUVE / jo 


which won the medal. To assure eather vas was not . mistaken she off 
to conduct Mr. Brooke to the spot itself from which the Pine 


exact background of ne Waggaman’s <pickores AS Mme. Mau 
husband when he painted both pictures and when he received his mec 
not probable that she was mistaken in the matter.—L. E. Van Zanor in 
Art Interchange,” June, 1894. oe re OF le vo 


No. 67 


1828—1889 
Com 
APPROACHING STORM gd 
Under the threat of a dark slaty sky, angrily slit with 
streaks of white and gray, a man, in blue blouse, is un- 
hitching his three horses from a plough. A dapple-gray 
and a brown horse stand facing him, while a white one 
has his back to us, his mane and tail blown by the wind. 
Below the level of the field on the left appear the roofs 
and gables of some buildings; and a path winds back 
from them up the ascending ground, passing a haystack 
on its right, and stretching onward to some low hills on 
the horizon. ‘This picture is mentioned in the Cyclo- 
pedia of Painters and Paintings, its date being 1867. 


Signed at the lower right, O. pe THoreN. 


Height, 28 inches; length, 36 inches. 


OTTO DE THOREN 7 { | Y ab ° 


CHARLES EMILE JACQUE 
1813—1894 


HOMEWARD BOUND—MOONLIGHT 


On the edge of a hill which slopes down from left , 
to right of the picture, is a moving flock of sheep, out — 


a! : 4 
r 


of which rises the figure of the shepherd. From the 7 
waist up it looms dark against the grayer darkness of 


the sky. To the right, hanging low above the earth, is 


through that portion of the sky, and lights with a great 
diversity of paler reflections the heads and backs of the 
sheep. | i his: 
Signed at the lower left, Cu. Jacque. 7 
| Height, 28 inches; length, 40 inches. 7 


a three-quarters moon, which spreads its luminosity a 


mi Day eas -- ‘cl rer 


No. 69 


ALBERT NEUHUYS a 0 ll 
aes 5 
844— : 4 


THE FRUGAL MEAL 


Se ee ee 
4 ’ a \, r, - 


EE A 


In a dimly lighted kitchen the family are seated 
round a table, in the centre of which is the dish of food. 
The father’s back is toward the spectator; opposite to 
him sits the wife; to his left the grandmother, while on 
his right a daughter holds the baby on her lap, as it 
brandishes a bright metal spoon. On the red-tiled floor, 
to the right of the picture, a buff cat is feeding out of 
an earthenware bowl, near it lying a turnip. The walls 
are dark drab in color; a recess appears on the right; and, 
on the other side of the kitchen, a white post catches the 
light. 


Bi ec ES aia ec 


: Signed at the lower left, Arnerr Neunvys, 1892. 


Height, 30 inches; length, 40 inches. 


[Copy] 
Laren, July 22d, 1893. 
To Mr. Waccaman, Washington, D. C. 
Dear Sir: It was a great pleasure for me to know that one of my pictures 
- of the Chicago exhibition [was] owned by you. I did not know which it was, 
but I asked Mrs. Mesday; it was “ A Frugal Meal.” I have given myself much 
trouble for that picture, I have worked a long time at it, and I have studied 
a long time the characters in their poorly domestic life, and I think I have suc- 
ceeded in my efforts. 
The other is, besides the great force of colour, the subject of a mother by 


the cradle of her child; the child is sleeping and she makes use of this oppor- 
tunity to mend the clothes. 

Your drawing is a real piece of poetry, the old woman is worn out, only 
the shadow of life remains; all is old, the walls, the chimney, the floor, that 
all speaks for passed sufferings. To make the contrast, your other drawing 
is sunshine; the happy family is sitting in the room where a sunbeam smiles on 
the conscientious little figures. 

This is a short description of four of the most remarkable pictures made by, 

Yours very truly, 


(Signed) A. M. Nevnvys. 


JOSEF ISRAELS 


1824— 


a GRANDFATHER'S CONSOLATION 


‘The light comes through a window on the left, near 
- which sits an old man holding a baby on his knee. 
| Wearing a blue shirt, slate-colored waistcoat, and drab 
- trousers, he looks down tenderly at the child, while his 
_ large hands carefully support it. The rosy-faced baby, 
seen in profile, dressed in a white cap and blue apron, 
shakes a wicker rattle. Under the window stands a bench 
with a pitcher on it; the baby’s seat is in the corner, and 
_ on the wall behind the figures a green curtain can be dis- 
' cerned in the dim light. 


Signed at the lower left, Joser Isra¥1s. 


Height, 47% inches; width, 31% inches. 


(See Frontispiece) 


[Copy ] 


Tue Hacue, 19 July, 1893. 
To: Mr. Waccaman, Washington, D. C. 


Dear Sir: Your oil picture and water colour belonging from 
my hand are really of the best things I ever did, subject and treat- 
ment likewise My greatest pleasure is always to tell the story 
well, and I do I believe. You can feel in the picture of the grand- 
father with his grand child the corresponding sentiment of both 
figures. The water colour is a dialogue between little John and 
pussy, but then all that can be told is painted in both. 

Believe me, dear Sir, 
Truly yours, 
(Signed ) JosEF IsRAELs. 


, 0 ~° No. 71 3 
ab JACOB MARIS 
1837—1899 | 


THE OLD CANAL AT DORDRECHT 


Cold, pale light is bursting through the scurry of — a 
gray clouds which fill the sky. Against it cut the TOASSS 
of the church tower and the lines of the masts of fee 
barges, which are moored beside the wharf on the right 
of the picture. From one of them goes up a thin stream 


of smoke. At the back of the shipping are drab and — 

brown roofs and buildings, framed in by dark trees, 4 
while to the left an arched bridge spans the water, lead- * 
ing to warehouses that border the harbor on the extreme 
left. Almost in the centre of the stretch of dark slaty- 
colored water is a rowboat with a man sitting in its stern. 


A 


Signed at the lower left, J. Manis. 
Height, 36 inches; length, 44 inches. 


2 Yah 
| 


Neal 
, No. 72 
JEAN BAPTISTE MILLET 


Deceased 


GORGES D’APREMONT—EVENING 


The original, from which Jean Baptiste, a brother 
of Jean Francois Millet, made this copy, is in the W. 
H. Vanderbilt Collection, and at present hangs in the 
Metropolitan Museum, New York. It was first seen at 
the Salon of 1859. 
_ A portion of the circle of hes some clothed with 
foliage, one conspicuously bare, is shown, slumbering in 
tints of golden brown and olive-green against a creamy 
sky, across which are ruffled waves of gray and pinkish 
clouds. ‘These hues and the forms of the trees and hills 
are reflected in the pool which lies in the centre, sur- 
rounded by the darkened grass. 


Height, 25% inches; length, 40 inches. 


Originally in the Private Collection of M. Francis Perrr, Paris. 


1817—1 re 


BLACK ROCKS, COAST. OF NORMAND 


| _ Dark olive-green rocks jut out from the left « 
| scene in craggy spits, and close in the foreground. The 
| blue water as it runs against them is ruffled into’ wh ite. 
| A white streak of light cuts along the horizon, and. above 


| it is a fluster of white clouds, lying low in the dove-gray_ 
\ sky. Jie ae 
i y ; \ . i Se cae 
i Suinen at the lower left, Davsieny, ’68. Meh re On: Pre A 


i Height, 22 inches; length, 46% Senthaee cs = 
Been (3 bers weld Se WDA Oxxx Ath S56 g 

l 

| 


“ Black Rocks on the Coast of Normandy,” by Daubigny, is a bleak, desolate 
! coast line showing the sea beyond. It is lonely and dreary, and you seem ‘to 
: hear the waves wash the rocks, and you look at the sea and half expect the light — / 
to change, and then you realize the power of the artist who thus makes you — 
feel the scene as it appeared to him.—L. E. Van Zanor in “ The As JOS. x 
wl change,” June, 1894. 
| 


: 3 3 a. 
a 
j HANS MEMLINC 


1425 (?)—1495(?) “pL 


' VIRGIN AND CHILD AND DONORS 
—A TRIPTYCH 


K., ao ee =< 
No. 74 


- Centre Panel: The Virgin sits enthroned, with the 
Child upon her lap, her right hand supporting its nude 
body, and the left held under its feet, which are crossed, 
the one over the other. Around the neck of her blue robe 
is a narrow border of gold lace, edged with little pearls, 

_and studded with larger pearls, alternating with gold cir- 
cular ornaments, each of which has a concave quatrefoil, 
enamelled red. But only a small part of the robe is vis- 
ible behind the Child’s body, for a white veil covers the 

_ Virgin’s head, and over this is a rose-colored mantle that 
descends from her head, concealing the arms and the rest 
of her figure in its ample folds. Its edges are decorated 
with a border similar to the one upon the robe, except 
that the quatrefoils are enamelled blue, and there is an 

_ addition of delicate needlework in gold thread upon the 

_ &\fabric of the cloak. : 

The Child, seated upon a white cloth, holds the first 
finger of its left hand to its mouth, while the right arm 
hangs straight down. Upon the floor, on the right, 
stands a blue and white vase holding a spray of lilies. 

Behind the figures hangs a dossal, suspended from 
two tree trunks, of which the right-hand one only is vis- | 
ible. But their foliage spreads above the Virgin’s head 
and frames in a distant landscape, showing in tones of 
delicate gray a river, winding past a series of rocky hills, 
one of which is crowned with a tower and spire. ‘The 
dossal itself is of dark green damask silk, with gold floral 
designs, among them of snowdrops and primroses, re- 

peated in regular succession. It is painted with a mi- 


we 0 Ghose 


nuteness of realism that represents the weave he Fs, 
fabric. The landscape and dossal are continued through 
the side panels. 

Left Panel: A little hill in the landscape wan two 
spires upon it rises just above the head of the donor, as he — 
kneels with his hands together before the book upon the q 
prayer desk. By a comparison of the face with that of a 
panel by Memlinc in the Brussels Museum, it is clear that — 
the donor in this votive picture is the celebrated Burgo- — 
master, William Moreel. Over a tunic of peacock blue | 
bordered with brown fur, he wears a drab-gray coat, with — 
brown fur upon the broad collar and down the inner edges — 
of the garment. A gold ring encircles the first finger of — 
his right hand. . 

Right Panel: The daughter of the donor kneels before 
her prayer desk holding an open book, a gold ring hoo 4 
ing on the first finger of her left hand. Upon her head, | 
projecting from the back of it, is a stiff cap, cylindrical i 
in shape, covered with damask silk, the pattern of which — 
is composed of alternate rows of gold and white diamond 7 
forms. Over it floats a white transparent veil. Gold 
needlework decorates the neck of her chemisette, over, — 
which is a rose bodice, while over this again is a blue gown 
cut very low in front. It has a border of drab material, 
which also appears as the lining of the pendulous sleeves, 
that are turned back to form a broad cuff. 

The antique frame, surmounted by a heavy cornice 
with circular rise in the centre, under which the valves of 
the side panels fit when closed, is painted bluish black 
with lines of gilding, faint with age. 


Centre Panel: Height, 31 inches; width, 23 inches. 


Side Panels: Height, 31 inches; width, 10 inches. 


“WILLEM MARIS L 
na 1844— if 


ee green foliage of willows and poplars, 


! row beside the fence. A white cow, grayed over . 4 ; 
_ with sh: adow except for a glint of light on her back, a8 
‘a stands, parallel with the fence, facing to the right. A ie 


- little behind her to the left is a red cow, which a woman 
"is milking, and beyond this one appears part of a dark 
brown cow. On the right of the foreground of green, | 
: ier grass lies a little pool. in 


a [signed at ‘the lower left, Wi11em Manis. 


1 Height, 30% inches; length, 41% inches. | 
i ae ‘ a, “i \ | 
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5 © * ALEXANDRE GABRIEL DECAM M0 


1803—1 860 


SAUL PURSUING DAVID hee 


The shadows of evening are creeping over the ground, — 
in contrast with which the sky is glaring. Roofed over — 
with dull, greenish-gray clouds, its middle part is streaked 
with layers of blue and white, dark underneath, where i 
a warm, creamy light stretches across the horizon. is 
Strongly silhouetted against it is a dark clump of trees, — 
from which a road descends and mounts upon the right 
of the scene. Here, among a retinue of foot-soldiers, — 
appears Saul, seated on a white horse, wearing a dull — 
red mantle, stretching out his arm toward the figure of © 
David in the shadow of the left side of the picture. The © 
two are separated by a tract of broken, slabby rocks, with 
fissures, impassable to a horseman. The youth, with one 
foot advanced, extends his arms in mocking invitation. 
At the back of him is a white-stemmed tree that cuts out 
its branches against the foliage of a yellowish-brown oak, 
beyond the upper foliage of which is seen a red tower. — 


Height, 30 inches; length, 454% inches. 


a ET ne 


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2.43? 


No. 77 
J. J. VAN DE SANDE-BAKHU YZEN og 


1835— 


COWS AT THE FORD 


Down the slope on the left troop the cows, in charge 
of a man who is dressed in drab trousers and a blue shirt. 
A white cow with brown markings is already drinking. 
The water is covered with dark yellowish reflections, ex- 
cept for a patch of white in the centre, where it catches 
the glare from the sky through an opening in the back- 
ground of foliage. This is broken only by a few slender 
stems, while on each side the tree trunks are bigger, and 
their tawny green leafage fills in the top of the picture. 


Signed at the lower right, J. V. vp. SanpE-BakHUYZEN. 


Height, 30% inches; length, 41% inches. 


No. 78 
ALEXANDER H. WYANT, NS 
1836—1892 


AT SUNSET 


This unusual example of the artist shows a fc ore- 
ground of coarse grass, threaded by a straggling brook, ay 
which reflects the yellow warmth of the sky. On the left — 
of the middle distance is a bunch of dark trees, from 
which a small one is detached. Across the hoa 
stretches a dark band of rising ground, in shadow against 
the primrose glow which fills the lower sky. Above it : 
float loose, shaggy clouds, through the gray of which | 
struggles a whitish-yellow glare of light, while overhead — 
is a canopy of darker gray. 


~ 


Signed at the lower left, A. H. Wyant. 
Height, 38 inches; length, 50 inches. 5 


CHARLES H. DAVIS 
1856— 


A WINTER EVENING 


In the wide stretch of water that fills the foreground 
lies a large, irregular island, with projections and in- 
dentations, covered with rushes, flags, and sedgy growth. 
The distant water beyond it is enclosed by a flat are of 
land, which rises gently toward the sides, while in the 
centre appears a faint line of far blue hills. Over them 
the full moon is rising, rosy white in the blue vapor. 
The sky above it is warm lavender in color, clearing 


higher up to blue. 


Signed at the lower left, C. H. Davis, 1888. 
Height, 38 inches; length, 76 inches. 


Awarded a medal at the World’s Columbian Exposition, 


No. 80 


P. A. J. DAGNAN-BOUVERET 
1852— 


A DUET IN THE STUDIO av. 
Through rose silk blinds, which cover a window on — 
the left, where a statue of Narcissus stands among flow- 
ers, the light penetrates the lower part of the room, boo 
leaves the ceiling in shadow, catching only some f aint 
reflections from a hanging chandelier. The grand piano- ; 
is so placed that the figure of the man who is playing, 
dressed in a tight-fitting black suit, is in profile, facing — 
the window. Behind his right shoulder stands a violinist _ 
in black coat and blue waistcoat. To the left of the — 
group, in the foreground, sits a lady in a white damask 
silk Pompadour gown, sprinkled with flowers, and lined — 
with soft shell-pink silk. Almost in the centre stands a 
music holder, and to the right of it a chair with sheets of a 
music lying upon it. ‘i 


Signed at the lower right, on Sheet of Music, P. A. J. DaGNan-BovveretT, 
Paris, 1883. 


Height, 44 inches; width, 34 inches. 


—S ae ae ee al - a = te ———- 


No. 81 


DAVID) COX 
1783—1859 


COLLECTING THE FLOCK, VALE OF 
S. Uppeeas CLWYD 


Rising in the centre of the composition is a windmill 
upon an eminence. On its left appear the gabled roofs of 
two houses embowered in greenery. The road from the 
mill descends to the left of the f oreground, where, under 
a bank of brown earth, covered with grass, stands a black 
donkey. Opposite to it, on the right of the road, is a 
stile, and near it, in the centre of the front, a puddle of 
water. In the middle distance upon the right, where a 
signpost stands by the roadside, a man with a red cap 
rides a black pony, driving a flock of sheep. Behind 
them the yellowish-green hill rolls on to a still farther 
one, lying under a sky filled with volumes of gray and 
white cloud. ‘To the left the sky darkens to drab and 
slate hues, against which the sails of the windmill hang. 


Signed at the lower left, Davin Cox, ’84. 


Height, 35% inches; length, 58 inches. 


1856—1902 


pees THE BALL 


There is a marble mantelpiece on the left, pa 
of chrysanthemums on it and _ brass andirons on 
hearth. To the right of it, in a gilt Louis XV d 


her face. Her right hand reat upon the arm 
chair, and the left, holding a fan, lies on her la 
dress is of white crépe de chine, embroidered witl 
ers, over a skirt of grayish-white silk. Beneath 
is a blue silk cushion, striped with bands of gold. . 
parquet floor lies a rose, with scattered petals. f a 


Signed at the lower left, L. Doucet. 


: 
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| 
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_ cane 


ges RICHARD, WILSON, R.A. oh 
| -17138—1782 


sue % ceded by a stre stch of mountains, f aintly ‘ar against 
Hi aoe white evizory. The middle distance is filled with 


he ae drops in a smooth fall. Upon the left of the 
~ foreground stand three stately trees, in the shade of 


, which, beside a Hermes, appear two women and a child. 
| One of the former, in a classic costume of blue and white, 
kneels, playing a pipe; while the other, nude to the waist, 


reclines upon the ground, supporting her head on her 


Be hand. Nestling- close to her side lies the child. 


Height, 48 inches; length, 70 ee 


\ “ SIR ANTHONY VAN DYCK 


1599—1641 


THE VIRGIN, INFANT CHRIST AND 
ANGELS 


Clothed in a dark blue raiment, the Virgin sits en- 


throned, the Infant Christ standing on her lap, nude ex- 


cept for the white drapery which the mother’s hand holds 
as it supports His body. His head is turned toward an 
angel on the left, who, clad in a robe of geranium red, 
is playing a lute. On the right of the group another 
angel, in brownish plum-colored drapery, plays upon a 


violin, held at the level of her waist. In the clouds at 
the foot of the picture appears the Serpent, breathing 


out fire. From the Infant’s head pours upward a 
golden radiance, which surrounds the head of the Virgin 
and is enclosed within the circle of her floating veil. 


Height, 64 inches ; width, 52 inches. 


The above-described painting was obtained by Mr. Waggaman from Mr. 
V. G. Fischer of Washington, who has furnished the following information re- 
lating to the picture: 


“As to the Van Dyck which I bought myself in London, I give you this 
information, 

“The painting was sold in London in 1804, in the Bryan Sale, by Lord 
Exeter, for £375. It again appeared in a sale in 1863 in the collection of J. 
Allan, and was bought by a dealer named Cockburn, who sold it to Lady 
Bloomfield, and was again sold four or five years ago at Robinson Fisher’s, 
London.” 


This is said to be the finished study for the master’s picture in the Accademia 
di San Luca, at Rome. The latter varies from the present picture in being a 
proportionately wider composition, and yet the left arm of the angel, which 
plays the lute, is excluded, the canvas terminating in a line that passes through 
the hand, the fingers of which are alone exposed. The head also of the Virgin 
in the San Luca picture is still more inclined to the right, and the direction of 
the eyes is toward the angel with the violin. The latter, moreover, holds the 
instrument to her shoulder, and the right hand, balancing the bow, is shown. 


\ 


Se HE ee 


ee Ee, 


i Bi ecenti g the Seven Virtues. The ia of 
| Hope is standing with her back to the spectator, beside 
“i he base of a column, pointing upward with her left hand 
ce toward the shaft. Her right hand embraces a child, whose 
head appears under her arm, while he holds his hands to- 
| gether, asif in prayer. To the right is another boy, with 

his face turned toward the front, holding aloft a torch, 
which lights the group with a rosy golden glow. Above 


it is a dark blue sky. 


Height, 84 inches; width, 36 inches. 


—- 


Purchased by Lord Normanton of Lady Thomond, the niece of Sir Joshua, 
in 1821. Afterwards in Lord Northbrook’s collection, and sold by Lord North- 

brook to Messrs. Laurie & Co., Bond Street, and then to Mr. Angus at Mon- 
. treal, from whom it was secured by Mr. T. J. Blakeslee of New York and 
sold to Mr. Waggaman. The painting was inherited by Mary Palmer, niece 
of Sir Joshua (afterwards Lady Thomond). 


|| When exhibited at a ioe Exhibition in aroneral some years ago, fe above 
|) example was described as follows: Z 


“ Another Reynolds comes from Mr. Angus. It is an upright panel, one of 
three decorative designs made by Sir Joshua for stained-glass windows for 
the chapel of New College, Oxford. In 1773 the college had conferred on him 


Q 


the honorary degree of D, C. L. In 1779 he painted three compositions repre- 
senting ‘ Faith,’ ‘ Hope’ and ‘Charity,’ respectively, for the chapel windows, 
as well as a large picture of ‘The Nativity’ for the same purpose. The lat- 
ter was bought by the Duke of Rutland for 1,200 guineas, and was burnt in 
the fire which destroyed Belvoir Castle. The other three were bought by Lady 
Thomond, and purchased at the sale of her pictures by the Earl of Northamp- 
ton for 2,550 guineas. This special panel is the ‘Hope.’ It is an upright, 
deep in tone and rich in color, with a graceful female figure for which Mrs. 
Richard Brinsley Sheridan, ‘the beautiful Mrs. Linley,’ posed.” 


ADDENDUM 


PAINTINGS AND WATER COLORS USED 
AS DECORATION OF THE RESIDENCE 
OF MR. WAGGAMAN AND NOT EX- 
HIBITED IN HIS GALLERIES 


No. 86 ne Ia 1e-0 


F. PERALTA 


P - ‘ Deceased | ene tak 
A GLASS OF WINE a Ag 


As he smokes his long pipe a man sits facing us. 
His legs are astride of a bench on which stands a tum- 
bler, into which he is pouring wine from a pitcher. His 


costume consists of a red waistcoat, unbuttoned over 


the shirt, buff breeches and gray stockings. 


Signed, Peraura. 


Height, 11 inches; width, 7 inches. 


Les se 


CHR y hos | | 
GAETANO CHIERICI / 
1838— 


WARMING DOLLY’S HANDS 


Before a cheerful fireplace, on the right of the pic- 
ture, furnished with high globe-topped andirons, a little 
girl is sitting with her feet on the raised hearthstone. As 
she leans back in her chair, sideways to the spectator, she 
holds her doll toward the fire. To her left, close up to 
the side of the fireplace, a smaller child, with a bib round 
her neck, stoops forward to warm her hands, at the same 
time turning her head toward the doll with a smile. On 
the floor to the left of the group lies a copy of the news- 
paper “ I] Secolo.” 


Signed at the lower left, Gaetano Cuierict. 


Height, 34 inches; width, 20 inches. 


| No. 88 
\\ S ROBERT WYLIE 
1839—1877 

THE THIEF 


On the right of the picture, lurking in the neice Py 
an open-air stall, is a man holding a club threateningly. ‘ ; 
Round the corner, in the street, is the proprietor, who has i 
caught up a big flounder, while he kicks out with his left | 
foot at a cat, which is disappearing with a leap into tHe : 
stall, after overturning a basket of fish and vegetables. 
To the right a dog is escaping, with his tail between his 
legs. Behind the group extends a narrow street, termi- —__ 
nating with a tower. | 


Signed at the lower left, R. Wvute, 71. 
Height, 21 inches; width, 16% inches. 


. 5 ‘ 
J. (Chae 
q A 


No. 89 


VAV 


ef KONSTANTIN MAKOVSKI 
1839— 


HEAD OF A WOMAN 


The picture shows the head and bust of a lad the 
bust being full to the front, the head turned toward the © 
left. Over her black hair lies a soft brown velvet bon- 
net. She wears a lace fichu, low down on the shoulders 
and bosom, fastened in front with a bunch of flowers. 
A glimpse of a lavender silk gown appears on the right. 


Signed at the lower left, K. Maxovsxt. 


Height, 23% inches; width, 1914 inches. 


n, en eg Bectivcly, of the four evan- 
_ Matthew, Mark, Luke, and John. On the 
r, facing the spectator, the front wheel is 


Beside the corresponding wheels, on the far- 4 
ide, uppear the head and shoulders, respectively, of S| 
p and a soldier. The latter, possibly Longinus, | 
ierced the sacred side, turns his head adoringly to 
‘Christ, who, clad in a white cloak and rose-colored on 
be, holds an orb in His left hand, and raises the right De 
| blessing. Facing the Christ on a lower seat is the a 
irgin. Clothed in light blue, with a white veil over 
head and shoulders, she holds her hands in prayer. 


Height, 221% inches; length, 30% inches. 


oe [Copy] 


Notre Dame Unrvenrsity, 
Notre Dame, InpIANA, = | 
‘a Jan. 27, 1896. e| 
% Etsy dear Mr. Waggaman: In the notes to Longfellow’s translation of Dante’s 
Es Purgatorio I found a description of a painting, or rather of a window in the 
_ Church of Notre Dame de Brou, which seems to be the original of your “ Tri- 
umph of Christ.” Longfellow says (notes to Canto XXIX) that in Didron’s 
Christian Iconography (translated by Millington) this account is’ ‘given: Sin 
the centre of all rises the Hero of the Triumph, Jesus Christ, who is seated in 
an open car with four wheels. He alone is adorned with a nimbus formed of 
rays, departing from each point of the head, and which illumines everything 


eo Oa ee ee 


around. . . . His face resembles that drawn by Raphael and the masters of 
the period of Renaissance . . . it is serious and gentle. In the centre of 
the chariot is placed a starry globe traversed by the ecliptic, on which the 
twelve signs of the zodiac are brilliantly figured.” (I do not remember whether 
this globe is shown in your picture or not.) “This globe 1s symbolic of the 
world, and forms a throne for Christ; the Son of God is seated on its summit. 
The car is placed upon four wheels, and drawn by the four attributes or sym- 
bols of the Evangelists. The angel of St. Matthew, and the eagle of St. John 
are of celestial whiteness; the lion of St. Mark, and the ox of St. Luke, are of 
a reddish yellow. . . . The eagle and the angel do, in fact, fly; while the 
lion and the ox walk. Yet upon the painted window all the four have wings. 
A rein of silver, passing round the neck of each of the four symbols, is attached 
to the pole of the chariot. The Church, represented by the . . . four chief 
Fathers, St. Gregory, St. Jerome, St. Ambrose, and St. Augustine, urge on the 
car.’ As far as I can remember this is a close description of your picture 
with perhaps a few changes in minor details. The picture at Brou scems to be 
a central picture on a large stained-glass window. Brou is a small town in the 
Department of Eure et Loir, about sixty miles southwest of Paris. 


Always very sincerely yours, 
(Signed) Austin O’MAtiey. 


te No. OT 


WILLIAM H. HOLMES 
. -? 1846— 
JENICE 
a . Water Color 


= In the foreground floats a barge with high-peaked 
stem and pointed stern. The space between its two 


_ hangs a red and yellow striped awning. These colors 
are reflected in the water, which stretches back to a dis- 
_ tant view, on the right of the horizon, of the Campanile, 
_ rising above the group of adjacent palaces. 


Signed at the lower right, W. H. Homes, 1879. q . 


hee { 25 : Height, 17Y@inches ; length, 29% inches. { 
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i 3 A ar ( { v W.. tf = 
ie eB i No. 92 ; 7 | 


DANIEL RIDGWAY KNIGHT 
. About 1852— 


GOSSIP BY THE RIVERSIDE 


On the right of the scene, a girl, who is wheeling a 
barrow filled with laundry, has halted. By her side is 
another girl, carrying a zinc bucket. They are turning 

_ to talk to a man who sits, fishing, in a punt moored close 
to the rushy edge of the water on the left. The river 
from this point extends back, until 1t winds round under- 
neath some low hills and disappears on the left behind a 

_ group of houses that are interspersed with poplars. On 
the river’s bank beyond the fisherman some women are 
washing linen. ‘The sky overhead is broken up into gray, 
rolling clouds. Zz 

Signed at the lower right, D. Ripcway Kwnicut, Paris, 1880. 


_ Height, 21% inches; length, 29 inches. 


B. GALOFRE _ 
BESIDE THE BAY OF NAPLES © 
Water Color ; 


In the centre of the foreground of sand, g 
white in the sunshine, three boats have been — 
Fishermen are busy unloading or lolling round 
while a white and a brown donkey stand waiting fo 
burdens. Nearer the front a man squats on the 
attending to a seine net. The strip of blue sea aay, ok 
stretches across the picture beyond the group is dotted — 
with two specks of sails and a distant steamer. The sky, f 
passing from white to blue, quivering with luminous | 
warmth, is carried high above the horizon. — < 


Lie 
et | 


f 
Signed at the lower right, B. Ga torre. a, 


Height, 25 inches; length, 38 inches. — 


A spa 
— HO \ 
) . 94 , ; 
RICHARD NORRIS BROOKE — 


\"| \ 


A QUIET CORNER 


A negro boy is seated, holding a large brass stew- ie 
pan between his knees. Some remains of red jam cling __ 
to the bottom and sides, which he is scraping out with a 
spoon. Behind him on his left is a brown dresser with 
a blue and white plate on it, and a bunch of corncobs a 
hangs upon the wall to the right. * 


Signed at the lower left, Rictrarp N. Brooke. 


Height, 44 inches; width, 36 inches. 


AUGUST HAGBORG 
. 1852— 
MEETING THE BOAT 


The fishing smack lies grounded in the shallow water 
at the back, keeling over, so that her two masts point in- 
land. Coming from her across the sand is a man in the 
middle distance with a burden on his back. On the 
right of the foreground, the skipper is shaking the hand 
of an old man, at whose side stands a woman with a baby. 


Signed at the lower left, Hacporc, Parts, 1881. 
Height, 30 inches; length, 46 inches. 
vv . ——— No. 96 


THOMAS MORAN, N.A. 
1837— 


VIEW OF WINDSOR CASTLE 


The castle, with its prominent features of Cesar’s 


tower and St. George’s chapel, rises in the distance 
against the sky. It has been viewed from a point near 
that which Turner selected: in the meadows adjoining a 
little tributary that flows into the Thames. In the fore- 
ground is a stretch of grass, bordering upon the stream, 
which runs diagonally across the picture. 


Signed at the lower right, T. Moran, 1863. 


Height, 40 inches; length, 72 inches. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


C No. 95 ‘e / See 


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